Pottery In Australia Vol 40 No 4 December 2001

EARTHENWARE & STONEWARE
Melbourne (03) 9125 1255 SWill •• , (021 "5r5155 C .. berra (02) 6280 5100

Volume 40 Number 4 - December 2001 $14.50
Front Cover 3 Showcase
Angela Mellor, 'Sake Set' 4 Awards
Slipcast Bone China on Black FOCUS ON CONTEMPORARY INTERNATIONAL EVENTS &
Porcelain tray, Jug: h. 23cm, TABLEWARE
WORKSHOPS
Exhibited at the 1 st World
Ceramic Biennale, Korea, 2001 HIGH VOLUME PRODUCTION 50 Is the Dinner Party Dead
Photo by Victor France
AND DESIGN
Sue Warrington
6 Industrial Strength
53 International Exchange
Trisha Dean
Dr Penny Collet
10 Tableware at the Jam Factory KOREA - INTERNATIONAL
Published by
Neville Assad
CERAMIC BIENNALE
The Potters' Society of Australia
PO Box 105 TABLEWARE FOR SALE 56 Shaping the Future with Earth
Erskineville, 2043 12 The world, ceramics and
Angela Mellor
Tel 1300 720 124
Planet Furniture
58 A Ceramic Revelation
Ross Longmuir
Lyn Havilah
Fax (02) 95173690
mail@potteryinaustralia.com INDIVIDUAL STUDIO
AWARDS
PRODUCTION
60 Perc Tucker Award
Wendy Bainbridge
President of the Potters' Society 14 Slipcast Tableware
of Australia Chris James
61 The Sydney Teapot Show
Marian Howell
16 Tableware at Castlemaine
Ellen Westcott
Phil Elson
62 Clatter
Judith Roberts
18 Poetry and Clay at Daimaru
Editor
Alistair Whyte
64 Melting Pot
Trisha Dean 20 Culture of Practicality
Julie Bosanquet
Sandra Bowkett
66 Pat Emery Awards
Representatives 21 Sea Lile
Jan Barnes and Judith Roberts
Victoria Lene Kuhl Jakobsen TRAVEL TALE
Margaret Hornbuckle ONE OFF TABLEWARE 68 Journey to Georgia
(03) 9584 4536
22 Offerings to Daily Life
Lone White
Queensland Marita Kohl ENTERPRISE
Stephanie Outridge-Field 24 Our Daily Labour
70 Claypan Gallery
(07) 3857 2670 Pam Sinnott
Ruth Park
North Queensland 27 Humour and wit at the table
Wendy Bainbridge Gordon Foulds OPPORTUNITY
(07) 4771 5044
30 Frozen Movement 71 Windows of Opportunity
Diana Klaosen
Western Australia
Johanna DeMaine
33 II you can't stand the heat
Ann Storey Tony Cameron
REFLECTION
(08) 8337 4650 72 Opening Remarks
ACT
GLAZE
Val Nichols
Jane Crick 36 Celadon - Focus on Application
and Consistency
ANNUAL EVENT
(02) 6281 2549
Chris James
74 Earth, Wind and Fire
South Australia
38 Celadon - A Personal Journey Pictorial Survey
Maggie Smith Chris Sanders
WELL READ
smithx2@ihug.com.au
Tasmania
CLAY BODIES FOR TABLEWARE 76 Wood Firing Journeys and
PRODUCTION
Jude Maisch
Techniques
41 Strength and Durability Cath O'Gorman
terrafiesta@trump,net.au
Roger Keane
AUSTRAlIAWI DE
EXHIBITION REVIEW
78 State Representatives Report
Design and Production
42 Material Deceptions
82 NATIONAL NEWS
Pakka Graphics
(02) 9599 0522
Julie Bartholomew
45 Integrity 01 Form and Surface
Mary Ryder
48 In the Arms of Morpheus
Raye Williams
DECEMBER 2001 - POTTERY IN AUSTRALIA 1

edit
TRISHA DEAN
As we come to the end of 2001 it is time to reflect on the events of the past year and to plan activities
and events for 2002. This year has been a challenging year for me personally, for the journal and for the
Potters' Society of Australia, with new staH, new premises and many changes to the running of the
magazine and organisation. It has been a pleasure meeting and working with such a creative and supportive
community in my first year as editor.
This edition focuses on the diversity of tableware being made in Australia today. Makers of ceramic
tableware spring from a variety of backgrounds and experience. At one end of the spectrum we have the
tableware design projects of Rod Bamford of Cone Nine Studios. who works as part of a team, to
manufacture tableware which meets the demands of restaurant and cafe. At the other end of the spectrum
we have makers of one-oH tableware like Dawn Oakford, Marita Kohl and Marc Capon who produce
individual pieces which relate to personal histories and response to the Australian environment. Lorna Tilley,
Pam Sinnott and Gaye Weller use the table as a vehicle for political and social commentary. Humour and wit
are strong elements in much of this work. Also included in the issue are individual makers who produce
their own range of tableware in short production runs. This work caters to a clientele who delight in the
pleasure of using well crahed locally made ceramics. Creating a market for handmade tableware is a
challenge which Ross Longmuir's article addresses. Ross has created an environment where handmade
tableware is displayed and sold in conjunction with glass, textiles and furniture.
International events such as the Western Australian tableware extravaganza 'Is the Dinner Party Dead' also
feature in this issue. Sue Warrington's account tracks the diversity of the workshops presented by ceramists
from USA. Japan, France and New Zealand. Angela Mellor and Lyn Havilah both attended the World
Ceramics Expostion in Korea and give accounts of their individual experiences there. Several Australians
were selected to exhibit in the associated exhibitions held in conjunction with the event.
We have much to look forward to in 2002. The highlight early in the year will be 'Cover Story - celebrating
40 years of Pottery in Australia' at the Powerhouse Museum, Sydney. We hope to see many of our readers
and contributors at the opening. Pottery in Australia has also been invited to attend the International
Academy of Ceramics - 50th Anniversary General Assembly meeting in Athens, in August 2002. The
Academy is planning to gather all ceramics magazines and publications from throughout the world to create
an international ceramics library for the period of the meeting. We hope to take as many Australian
publications as we can gather. This will also be a great opportunity to promote the Potters' Society's new
web directory to an international audience.
Finally many thanks to all those who have contributed to the success of the magazine this year and best
wishes for the festive season and new year.
2 POTIERY IN AUSTRALIA - DECEMBER 200 1

Clockwise from top:
Peter Ste99all. 'Prawn Bucket',
carbon-trap shino glaze, h 45cm
Hornsby College 01 TAFE. NSW. Staff
Exhibition, 2001
Kate Dunn. 'Flowerbed detail'
ceramic, glaze & perspex, 2m x 1 m,
Hornsby College of TAFE, NSW, Staff
Exhibition, 2001
Graham Hay, 'Paper Over', EW
ceramic fpaperclay) + paper. h.68cm.
2001, Beyond Ritual, Church Gallery,
WA.2001
Geoff Thomas. 'Jar', anagama fired
for 90 hours, creek pebbles. wheat
straw fire markers. under wad marks.
Clay Pan Gallery. NSW. 2001
DECEMBER 2001 - POTIERY IN AUSTRALIA 3

Clockwise from top left:
Kallln Chlrtams, 'Untitled'
Honourable mention,
Pal Emery Award, 2001
Catherine Reid, :Jugs'. smoke
fired. resist decoration. h. 45cm,
Doug Alexander Memorial Award,
Canberra Potters' Society Awards
Judith Roberts, 'Ovoid Vessel'.
raku fired, crackle glazed. heavily
smoked. h.13cm. Josephine
Ulrich Award for Excellence.
Gold Coast International Ceramic
Award EXhibition. 2001
Manta Knutsen. 'Bowl'. carved
porcelain with inlay. Honourable
mention, Pat Emery Award. 2001
4 POnERY IN AUSTRALIA - DECEMBER 2001

ClockwIse from lOp left.
Diane Kirk, '2 Bowls and Bottle', porcelain
Honourable mention, Pat Emery Award, 2001
Photo: Jeremy Dillon
Jane Crick, 'Afternoon Tea', Sydney Teapot
Show, 2001 , h.12cm, Photo: VIcki Grima
Tlmm O'Regan, '/ have broken my Teapot',
Sydney Teapot Show, 2001, h.15cm,
PhOio. Vicki Grima
Margaret Hall, 'Still trying to write',
Sydney Teapot Show, 2001, h. 15cm
Photo : Vicki Grima
DECEMBER 2001 - POITERY IN AUSTRALIA 5

TRISHA DEAN
Cappuccino cup and universal saucer
Tableware design for the contemporary cafe
In late 1998 Rod Bamford was approached by
Sally Hunter, product manager for Manfredi
Enterprises, to work on a ceramic design project for
the company. Sally was familiar with Rod's work
and believed that his design sensibility combined
with his well established technical competence
would enable him to successfully carry out the
project. The company was planning to launch a new
coffee brand, Espresso di Manfredi, and engaged
Rod to design a suite of contemporary coffee cups
to be sold in conjunction with the coffee. It has
become common practice for coffee blenders to
supply branded coffee cups and saucers to the
cafes and restaurants who sell their coffee. Along
with Manfredi Enterprises, who contributed the
overall vision for the brand, the project involved a
graphic designer, the parent coffee company
Douwe Egberts, the tableware importer/distributor,
and the manufacturer, Royal Thai Porcelain in
Bangkok.
The project represented an exciting opportunity
for Rod because there was a direct link between
the project's aims, and ideas he had developed in
his Masters of Design research thesis entitled
"A Tactile Orbit". The thesis had explored the
potential for new tableware prototypes arising from
the particularly antipodean cross cultural culinary
evolution which is characteristic of contemporary
Australian food culture. Coffee drinking is now part
of that culture and has a strong and visible
presence in the Australian urban streetscape.
The "Cup Suite" was made up of a cappuccino
cup, a lalle beaker, an espresso beaker and a
saucer. From the outset design/aesthetic
considerations needed to be balanced against the
functional requirements of the tableware. The
6 POITERY IN AUSTRALIA - DECEMBER 200 1

\ )
--- --- 1
-~
original design concepts were ce.~n the contemporary cafe
bar setting. For Rod this setting envelopootlTe design brienls
much as the aesthetic consideration of coffee drinking. The
Manfredi identity was also a sti:0ng element, as well as th;;..<
merging of traditional Italy and c
t~rary Sy.dney. It was
Rod's aim to give the ware a c temporary feel as well as a
timeless quality. and so he drew on the Italian cafe tradition a~
early Roman pottery forms. Three poinisortoctJS"emerged --.. ---- as
being of primary concern in the design process. according to
Rod. These were "functional utility. affordance as a chef's canvas
and contribution to intej9I-~ _--- - =-:- _
From a function~wp"olnt the uppermost consideration was - ~\
that in a busy cafe the-crockery has a tough life and needs to ~ \ ________
function on a number of lev~m aCOi'flplrct space. Simple Issues r -
became important. Cups needed to be the right height to fit I ~
underneath the coffee machine head. stack on top of the Y
machine. and hold a specific volume of liquid. Size and
placement of cup handles. the most vulnerable part of a cup's
anatomy. needed to fe designed with this environment in mind.
The tough chip-resistant glaze and claybody (an alumina
hardened porcelain) wer.ll deve oped-by. the.manufacturing -­
company for the purpose:T!,e uQ)versal saucer was an impoi1ant"""---:
design innovation because it aliowedfOrtfie BifferenCsized ~ ups
to sit on a single saucer. doubling as a serving dish and stackin
neatly. saving space for t.he Gafe"and production costs for the'­
coffee suppliers. Hod comments that "the_univer~aLsayce'ris a
unique design which fits all three cups as well as being a
beaytifully rippled serving plate. It is designed to both frame the
cups and steady them while they are bei~n important
cbnsideration in busy cafes" ....- ....---. --.:::::::--
Rod communicated the original designs by~erufured ~ /
image and profile drawings to Royal ThaLf'Qfce iii";: 9.O-uses/
CAD as a tool for developing. visualising. and dimensioning
ceramic forms. He uses the resulting images to accurately
communicate ideas. prepar.e technical drawings. and create
convincing presentations. Thedes[giiS lTowever were nonnouQh
Branded cup sUlck •
Espresso di Manfredi
~----~
-...--------
DECEMBER 2001 - POTIERY IN AUSTRALIA 7

Origina l rendered CAD Images su bmitted
to manufJcturer
for the company to be convinced of their viability.
Rod says, "Those who are still coming to terms
with the digital world of design may take heart from
my experience that these tools alone are not (yet)
enough. In having to convince the manufacturer
about the viability of the new shapes I had drawn.
I learned that when it comes to the crunch, those
who make things are most comfortable dealing with
the direct processes they know."
Rod had to prepare a model and simple drop out
mould of the cup shape to convince the company
that the shape could be successfully produced by
the jolleying process. He ended up making both
models and moulds for each of the shapes and they
were sent to Thailand to be copied. It is doubtful that
a designer unfamiliar with model and mould making
skills would have been able to convince the factory
to proceed into unfamiliar territory. Sally Hunter
believes that one of the most difficult issues to
resolve in the whole project was the development
from drawings to models to first production pieces.
She says that the subtlety of the designs was not
interpreted into the models by the manufacturer, and
the difficulties caused by this threatended the whole
project towards the end.
Another challenge in the production process was
presented by the fact that the pedestal footring for
the latte and espresso beakers had to be jolleyed
separately and joined together. This was solved by
putting a pin on top of the foot which fits into a
socket on the base of the beaker. The fit is very tight.
each piece is jolleyed and then glazed together.
Royal Thai Porclain were skeptical about the process
until they tried it out and they found that tile results
were very successful. Rod found that his persistence
and willingness to adapt his ideas to the process
were the key to the eventual success of the project.
..... I used to think that any compromise was the
creative enemy - now I view it as a reflector ...
a compromise situation can be used either narrowly
as a mirror to look back only at oneself and one's
ideas, or it can be slightly angled to take in a new
perspective which can lead to a fresh solution. The
latter is more challenging and ultimately the most
exciting heads pace ... "
The Cup Suite has been in production since late
1999 and Manfredi plans to extend the range so that
they will be used in food service generally. According
to Sally Hunter, "the cups have given the coffee the
modern edge that we had hoped for and the
consumer feedback has been positive The cups are
beautiful to look at. smooth and sensual to hold, and
that can only enhance the experience of coffee
drinking ...... ..
8 POTIE RV IN AU STRALIA - DECEMBER 2001

~------. - - ---------------------
'Cup Suite' in use
For Rod the challenge of working as a desig7 on a project which involved communication and
coordination with ~anu fact u rers, dis t ributo r~nd the Manfredis was ultimately rewarding ....... For
me, the outstanding aspe~ f this~Ja-PrOject was that its success was the result of a
coalescence of (deas and experience from all involved in the project. As the saying goes, the whole is
greater than the sum of the parts"
Rod Bamford is a NSW based ceramic artist/designer/maker and partner in Cone Nine Studios -
through which design projects are developed. Website www.tactile.com.au for more information
Photos; Jimmy Pozarik
Left: Steve Manfredi
and Rod Bamford
check first run of cups
DECEMBER 2001 - POITERY IN AUSTRALIA 9

~ _____ 1ewa re at the
jam factory
NEVILLE ASSAD
'Concertina Bowls'
deSigned for the Jam
Factory by Robin Best.
jigger jolleyed l150c
oxidation d.35cm
The Jam Factory Studio has played a very important role for ceramics in South Australia and also
nationally. A studio of this kind has been of great importance for many reasons. It has allowed students
coming out of tertiary institutions an opportunity to continue their career in projecting their role in the craft
and design area, producing a continuing language through the medium of ceramics. The Jam Factory
Studio allows access and also a career development scheme for a two year duration. This has allowed the
development of many individuals' work for the marketplace in being able to supply good design for the
areas of tableware, prototyping, new ideas, research and exhibition work.
The Jam Factory studio has been actively involved in this role for a 30 years, travelling through many
changes but still with a strong emphasis towards product development. Looking back over three decades,
this exercise of making and supplying has changed dramatically. Over the past two decades it has been
much more difficult to sustain this role, largely because of the influx of much well made imported utilitarian
ware.
Because of this development. we have to focus on different ways to achieve our goals. We in Australia
have no industry to support large runs of production as they do in Europe. We are able to design but need
support to get the product into the marketplace.
10 POITERY IN AUSTRALIA - DECEMBER 2001

------------- - ----------------------------------------------------------------------------,
This is where the Jam Factory as an organisation
has been extremely suppOrlive for designers and
makers to get product off and running. The studio
allows time for the associates and tenants to
research and test ideas. When many ideas are in
place it can lead to trial and error, so the refining of
ideas to move these objects into the marketplace is
critical.
We as a team within the ceramic Studio have
been looking at ways of producing works which
represent the studio. which gives us income to
continue to maintain this role of development.
We have recently developed a range of
handthrown tableware, with a strong sense of
softness and materiality. This range gives a
generous quality to the form and is being expanded
upon. This body of work is to show the makers
mark and not to compete with industry. Also. this
approach retains the skill of the thrown object.
Another method which has been on the drawing
board for some time has been the development of
the CAD design. This has now been developed into
a range of Concertina Bowls along with a Pleated
Vase. These forms have been designed on
computer, then rapid prototyped. This method has
proved to be extremely successful and is a good
way of developing work for mass production. It is
an expensive approach but allows one to work
through ideas in a more articulate manner. These
forms are produced in two w ays. The bowls are
produced on the jigger and jolley machine and the
vases are slipcast. This then allows anyone to
manufacture these forms.
The associates as a collaborative have designed a
range of bowls which are thrown. This has given an
0pporlunity to work through ideas and problem
solve as a team. These bowls are now in the
marketplace. Any of these approaches can take
time to be accepted and to meet our financial
needs for the research given in order to develop
new product. These areas of development are
imporlant to the culture of ceramics in Australia
because they inform more than production, but also
as prototypes, reflect back to new ideas for
exhibition works and limited runs. This then informs
a broader range of skills and allows students to
project their work into a more diverse market.
The Jam Factory Ceramic Studio has seven
Associates, four Tenants, a Production Manager and
a Special Projects Manager. As a team the diversity
of these individuals help. to direct the studio into a
more contemporary way of thinking. Tableware is
not such an easy area to develop, but still gives a
strong sense of achievement and allows time to
reflect upon utilitarian design.
Neville Assad is the head of the CeramiC Studio at the Jam
Factory, Contemporary Craft and Desi gn.
SpIral Bowls' hand th rown
by first year associates.
inlay decoratIon, l15Oc,
oXidation, d 35cm
Photos; Chris Bishop
DECEMBER 2001 - PDnERY IN AUSTRALIA 11

ROSS LONGMUIR
The World, Ceramics and Planet Furniture
Planet Furniture began in Melbourne in 1992 with
a very simple concept to make the world a more
beautiful place. My original plan was to design
furniture and have others build it. I quickly found
that without understanding the craft process and
complex limitations of the material, it would be
impossible to become a designer, so I began to
make furniture rather than study in a formal
institution. Working for six years in Melbourne,
I taught myself along the way, with books,
magazines, occasional short courses and lots of
opinions from other designer-makers in shared
workshops. It is quite amazing that I still have all
my fingers.
During my time in Melbourne I developed a
network of associations with other craft
practitioners via shared workshops, group
exhibitions and support organisations and the
camaraderie of just being poor. This background
has given me a unique perspective on both sides of
the retail situation. I enjoyed the process of making,
but always planned to return to the original design
plan. On returning to Sydney, and opening a
showroom in Surry Hills in 1998, I thought it would
work well to show the work of other Australian
designer-makers in room settings.
It seemed logical that if clients saw work set up in
situ, they could attempt braver things themselves
and the contrast of different items would highlight
their unique features. Besides, I wanted to support
the great work of my friends.
My original concepts for furniture came from a
simple desire to make objects that improve the
world. I did not want to make objects to alienate, or
shock or to fit in with fashion cycles. They must be
objects made from pure raw materials sourced
responsibly, made with care to last for a long time
and made beautiful with the expression of the
maker revealed. They should be objects made with
ultimate standards in mind, rather than being
market-driven. so they must be original and with
pure intent. These standards are the same criteria
that I apply to selection of other people's work for
the showroom.
My interest in ceramics has grown in recent
times, as I have learned a little about materials and
processes, largely due to information sharing with
ceramists and clients. At Planet Furniture we are
trying to reclaim the essence of craft and to
highlight artisan expression, without compromise.
Essentially we show functional ceramics, although
layers of meaning and labour-intensive processes
are part of the equation. We have a range of work
from production items intended for daily use, to
labour-intensive one-off pieces involving complex
processes. Regularly our ceramists win awards,
exhibit around Australia and internationally and,
occasionally even in fine art circles. We are always
on the lookout for ceramists who share our
philosophy and level of standards. Increasingly we
are becoming a venue for collectors to browse
12 POITERY IN AUSTRALIA - DECEMBER 200 1

Top shelf' Tama Rollond
Middle shelf: Cups and bowl by
Chris James, Oil pourer by Matt Blakely
Table: 'Oogedy Boogedy' vases (left)
by Bndgene Power
'Flow Vase' (middle) by Chris James,
'Egg Vase', by Tania Rollond (righO
alongside shoppers looking for a special gift.
alongside students seeing the latest work.
alongside yuppies just indulging themselves. To me
these clients are equally important. I am pleased
that we have a venue where makers can show and
sell work that is about personal expression and
technical skill. and where subtle layers of meaning
can make artistic statements that enhance the
functional nature of objects. I am also pleased that
we have a venue that is human and approachable.
The general public tends to agree. The cross-over
of many homeware items means that clients visit
for many reasons. We have furniture. textiles. glass.
paper and many other home items from makers
and designers around Australia. Clients may be
intending to purchase a bed. end up with a pot and
vice versa. or even purchase both. People love the
stories behind the work and many clients who
would not call themselves gallery visitors feel
comfortable in our store. Media promotion is very
common and we happily service a wide crosssection
of the press. from supermarket magazines
and tabloid papers and cable TV shows. up to highend
specialty industry and glossy magazines.
We have exhibitions from time to time. with our first
ceramics show planned for early 2002.
Besides all this policy stuff. I find that the ceramic
medium hits you on a gut level. The technical ability
to change earth to a different form.combined with
the science of glaze formulation. and the unknown
quantity of uncontrollable variations in conditions is
a fascinating mix. Beyond all this I feel that of all the
craft mediums. we get such a strong immediate
sense of personalities behind ceramic work.
I admire the ability of makers to bare their souls to
an unknown audience in such a public way and this
thrills my soul. Ceramics too can make the world a
more beautiful place.
Photo: Stephen Innes
DECEMBER 2001 - POTTERY IN AU STRALIA 13

CHRIS JAMES
'Cups', slip cast. porcelaincous
stonevvare. chun glaze.
Cone 10 reduction. h.llcm
A personal approach to design and production
A new direction has unfolded for me over the past two years. This direction has seen exploration into
porcelain slip casting bodies. moulds as a method of making and the development of a complimentary
range of glazes. It has also generated a personal renaissance for making in clay.
Little things mean a lot! A close friend told me of a conversation that had taken place about a piece of
mine. The words that ring in my ears are "why does he decorate them" . Now you could interpret that
statement in many ways depending on the day. Offence was one possible response but it was a good day.
and so to me it suggested that the form could stand alone. and so after a little pondering I let the forms do
just that and dropped the decorating. During my time at college my lecturers noted my weakness with
design and decoration and typical of most teachers encouraged me to work on it. Letting the decoration go
has been a leftover from college knotted within a ball of string somewhere within my subconscious.
Currently we produce and wholesale a range of high fired forms under the name of Chris James Ceramic
Design. These forms are understated and free of applied decoration ranging in scale from a 400mm droplet
vase to 80mm translucent shot cups.
Influences in my work have remained constant for many years with each coming to the fore at different
times. These include space and the planets. futurism. science fiction. architecture and organic form. They
all have their place. Lately my love of the ocean has taken the fore and the current range draws heavily on
the nature of fluids and at times the human form. I have tried to capture the essence of this quality in the
droplet range and the most obviously named flow vase. I gravitate toward fairly simple forms with
meditative calming curves .. I'd like to think that these pieces could fit seamlessly into a contemporary
home or a space in 2200.
When designing forms to be created using the casting process you realise fairly quickly that the process
has a fair hand in the nature of the form. It often takes three prototypes laboriously crafted in plaster or
foam before the form is allowed anywhere near production; each prototype has to be absolutely right or
you're stuck with it. loathe to let go after such an investment of time. Allowing for the movement that takes
place in pyroplastic porcellaneous bodies is a major design consideration which has generated some real
technical brain teasers. at times the safety of 1000c looks very inviting but the strength and quality feel
keeps the work at 1285 for now.
14 POTTERY IN AUSTRALIA - DECEMBER 2001

'Sushi Plate', clear glaze, SW oxidation. I. 29cm
Although there are whiter clays available I have concentrated on working with Australian materials for
the body. The porcellaneous casting body that has developed shows a warm golden translucency and
represents two years of testing and several compromises. It can be whiter but then the plasticity is reduced
making it unforgiving; the clay can also be more translucent but the compromise is pyroplastic warpage. So
at present it teeters in a happy position satisfying my own criteria and doing it all consistently. As a matter
of fact, consistency is a word that sums up one of the greatest cha llenges presented by this endeavor.
Fa irly quickly we started consuming more porcelain than we were able to prepare and so Keane Ceramics
are now taking care of the preparation and this saving in time has helped us to concentrate on developing
fresh new forms for the range.
Creating commercially viable work to a high standard presents a huge challenge. The wheel is a fantastic
tool for creating ceramic forms. The variables involved in creating forms of uniform dimension on the wheel
are numerous. Training another to create your forms to your specs creates even more variables, hence the
mold has been utilised for the manufacturing process and is essential to consistent product. There's that
word again - Consistency. Teaching within the TAFE system for the past 14 years, I have been aware of the
need for real life on the job training in the studio ceramic field to consolidate the foundation developed
within the institution; there are so few opportunities for this in Australia. The idea of complimenting tafe
training with on the job experience has been very appealing and essential to the current product direction.
The move toward creating repeatable forms in clay has generated the opportunity to include Natalie
Velthhuyzen in the manufacturing process. It is all too easy when creating work to fill every role because it
seems easier to do it yourself than spend the time explaining the process to another. Handing over
responsibility as a maker can be quite challenging in many ways. The trap with the mindset of fulfilling
every role within the production process is that little time is available for the development of new forms
because of your commitment to current orders.
email-chns.ceramic.designs@telstra .com
www.ceramicdeslgn.com.au
Photos' Design 17
DECEMBER 2001 - POTTERY IN AUSTRALIA 15

PHIL ELSON
'Teapot and bowl sef, teapot,
pale green celadon glaze,
bowls. chun blue interior, SW,
reduction fired
Two months ago I started throwing again after a 12 month break from making. In August 2000, I started
the move with my family from Trentham (where I established Trentham Ponery in 1989) to Castlemaine in
Central Victoria. It was a huge project. The move necessitated the construction of a new studio, a new kiln
and eventually re-establishing contact with the marketplace. At the time of writing this article in late October
2001 I have had two firings and am very much back into the rhythm of making pots.
I am constantly re-evaluating and being self-critical and this time away from the wheel, although hugely
busy with the nuts and bolts (literally) of planning and construction, gave me a chance to step back from the
work and think about the role of influence. I recently re-read a book I was given 20 years ago. It was Garth
Clark's book titled "Michael Cardew". It is a biographical account of Cardew's poning thoughts and practice
and follows his life from SI. Ives to Wenford Bridge to Africa and back to England. The book also records
Cardew's visit to Australia in 1969 to work in the Northern Territory, Cardew's approach to making functional
pots - pots for everyday use, still inspires.
However the term "tableware" has broadened now to describe a less predictable array of work, infinitely
variable and subtle, that can still unashamedly sit within the broad parameters of functional work whilst
acknowledging and drawing inspiration from traditional sources. I consider myself a maker of tableware yet
the majority of work I make is bowls. Bowls of different shapes size colour - made in repetition - and the
process wonderfully rich as I attend to the evolution of form: the development of glaze quality and variation
of glaze colour,
Anecdotal evidence suggests that there is a diminishing opportunity for emerging potters with a desire
and passion to make tableware to find good workshop training. Occasionally some are able to take
advantage of opportunities to work overseas. Locally though, some are able to find studios that can
accommodate this desire but with the odd exception such contact is on a short term basis. Workshop
training provides the environment to hone the skills and to revisit the form time and time again. I look to
16 POITERY IN AUSTRALIA - DECEMBER 2001

Clark's book where he says the argument
against the traditional approach is that by
making so large an investment in the craft
itself, one suppresses the subjective
impulse, the art, Cardew is unconvinced,
having found it to be much the opposite in
his experience: "The paradox of
spontaneity is that it very often springs
forth from an arduous discipline. For
instance one can only really be
spontaneous and creative in throwing, once
one has mastered the technique; the road
to a more subjective expression comes
from getting on top of your craft, not short
cutting it."
I worked in a number of workshop/studio
environments both in training and
employment situations.
Each studio had its own idiosyncrasies but
the result gave me with a cumulative
experience that has been rich and
invaluable. A painter friend recently said
about some tableware of mine, "People are
moved by your shapes of space and
containment that are your bowls." I know
that I similarly have been moved by
handling, holding, using the pots that
others have made.
People do want to have pots in their daily
life and in their daily use. Pots that bring
them a simple pleasure. Such people do
not necessarily apply a conscious analysis
but instead rely on their instincts,
their response to form and shape, their
connection to use, to what Cardew
described as " .. true pots". (being)
" .. generous, common and universal."
Large Bowl, Pale blue interior
with dark grey black shin~ type
glaze exterior. h.16cm, w. 40cm
Large Bowl. pale blue interior
with copper red glaze exterior,
h.l8cm, w.16cm
'Large bowl with th ree tea
bowls' dark green interior with
reduced copper glaze exterior,
h. 1acm, w . 42cm
Bibliography: Garth Clarie. "Michael Cardew". 1978.
Kodansha International Ltd. Phil Elson (03) 5472 2814
Photos: Neil Lorimer
DECEMBER 2001 - POnERY IN AUSTRALIA 17

ALISTAIR WHYTE
Synergy
Jennifer Gordon
Does the clay have any say?
Does it know the way to go?
Does it learn just how to turn?
Does it feel the churning wheel?
Can it stand the potter's hand?
So smooth, so firm, so sure.
How absurd it is to wonder any more.
Yet without the yielding of the clay
The potter's hand could do no work today.
Recently I held an exhibition at Daimaru Department Store in Melbourne. Part of the purpose of this
exhibition was to make exclusive use of Clayworks Southern Ice porcelain body. Towards this end I
approached Clayworks and managed to get sponsorship for the clay used in this exhibition. I wanted this to
be an all porcelain exhibition and I was keen to test some of the limitations of this new clay body, as well as
try out some new yellow high temperature glazes.
To complement the high temperature yellow I also made some white bowls and applied low temperature
yellow onglaze enamel using "dry grounding" technique. So this exhibition combined blue underglaze
decoration with plain white, yellow and some onglaze, The end result I felt looked good and I was pleased
with what I had done, but of course a great deal also depends on what those viewing the show also
thought.
As an aside to the exhibition I also asked a friend of mine, Jennifer Gordon, to write some poetry for me
on the theme of clay. I have found it very hard to find many good poems on potters or clay, It is not a
common theme of poets. Jennifer came out to my studio while I was working on the exhibition and
observed me for a while, and I also explained some of the techniques I use. What she wrote for me was
most moving so I included these poems in the exhibition. The Department Store presented them on 2 metre
high boards.
One of the stipulations of having an exhibition at this Department Store was that I man the exhibition for
two weeks. This proved to be a unique experience, I also took a potters wheel in and gave occasional
throwing demonstrations. Many students from colleges around Melbourne and Gippsland came in to see
the exhibition and I was able to talk to them. I also found that two weeks away from the studio somewhat of
a sacrifice, but worthwhile for the contacts made,
In all, the exhibition, while not exactly a financial bonanza, proved to be a worthwhile exercise that should
have ongoing repercussions. I would now like to diversify the range of Southern Ice pieces I made for this
exhibition and exhibit the work again in a more recognised and formal art gallery next year. I would welcome
an expressions of interest in this area.
Photo: Terence Bogue
18 POnERY IN AUSTRALIA - DECE MBER 200 1

off the hump
Jennifer Gordon
I stood and watched him throw five off the hump.
Bent above the w heel
coaxing shape and life out of a lump,
brief stop to measure,
doing it by feel.
Astride the disk with argillaceous load
strong arms, su re hands
speak for the man
who knows the moves by heart.
Just like a long-time lover,
no shy novice to the art.
Where words are soft and quiet and quick and thin,
all focus on the clay.
While harnessing the wheel's perpetual spin
for form and symmetry
the crowning objects of the day.
A serene and milky mystery
that rings with tones of harmony.
Unique, uncommon synergy
of strength
and yet fragility.
Now,
Here's the invitation,
Participate in transformation
- take the cup.
Southern Ice
Jennifer Gordon
Daylight dances
daringly through
pellucid porcelain
Stark sunlight lured
and trapped,
Transmuted into
luminescent moonlight
Inside the vessel
into the eyes of the observer
And once again
one wonders
how that soft clay,
cousin of glass and crystal,
becomes beguiling
Within the potter's hands
Beaten airless,
Turn and turn again
Take form, take shape, take measure
Through the fire
Hold on
Hold on to all you have be
Emerge
DECEMBER 2001 - PDITERY IN AUSTRALIA 19

Top: 'Platter', thrown. decorated with
slips and decals
Right: All in a day's work
Photos: Jenny Mcinnes
Sandra Bowkett
A "time rich" childhood in country southern N.S.W led to abundant opportunities for creative activity. the
early days filled with mud cake decorating (especially with red geraniums) and then needlework and knitting
under a grandmother's patient instruction. I arrived at a point where I noted "I am making all this useless
stuff". This realisation led to serious jumper knitting and now, on reflection, functional tableware. My
heritage is one of farming families. I am from the generation that found it easy to leave that culture and
pursue individual interests. However, I see the culture of practicality is still with me.
I have nearly always focused my ceramic practice on making tableware. I enjoy crafting well made
functional forms; most of my work is thrown. The design process usually starts on paper and evolves with
subsequent making and refining in the real world of practical use While studying in the 70s, I discovered
some commercial ceramic decals in a pottery supply shop. The images I chose to purchase were of "Blue
Boy" and some wild African animals. I combined them all on the one plate and thus begun my fascination
with the printed image on ceramic. At present, most of my tableware includes ceramic decal images.
I enjoy the process of manipulating the images over the glazed surface and having the time to consider
alternative compositions before the final commitment to the piece. Areas of coloured slip under the glaze
determine the structure of the surface. I choose particular decals for their colour and secondly their imagery
and place them in ways to define and refine the coloured structure beneath. This structure is designed to
enhance the functional forms I make. The image created by my work reflects the 'Decorative Arts' of many
eras and cultures. Often I see Japanese textiles specifically kimono fabrics and '50s deSigns distilled
amongst the other elements that evolve over time.
My studio/shopfront is in the small Victorian country town of Seymour; however, most of my income is
gained from wholesaling my work through a small group of "specialist" shops and galleries across
Australia. I live on 92 acres of rugged but peaceful land an hour's drive from Melbourne. The stillness and
quiet of this environment enables me to work in a very focused way but does not inform my work directly.
In contrast. I enjoy trips to Melbourne for deliveries and supplies, because they offer a change of pace and
energy. I find these trips vital for maintaining contact with my market.
Sandra Bowkett. Seymour, Victoria
20 POTIE RY IN AUSTRALIA - DECEMBER 2001

Lene Kuhl Jakobsens
Marine inspIred tableware
Lene Kuhl Jakobsen
I grew up in Denmark and clearly remember my first pot made from clay found on a beach during
summer holidays. It dried in the sun, flowers and shells pressed into its surface. At high school I started to
develop an interest in the arts and later attended an arts and crafts school to study full time in a ceramics
course (1974 to 1978). I enjoyed those years of being immersed in the exploration and excitement of clay,
glazes, throwing, and drawing.
After a period of travel and work in Europe I moved to Australia. It was time again to adjust to new
materials and firings in a shared workshop called Pigtale Pottery. My first Australian pots in midfire clay had
colourful geometric patterns, triangles and spots on angular shapes. After having two children I now work
from my studio at home and held my first solo exhibition in 1992.
I use white stoneware clay, make my own glazes, and fire in an electric kiln. I like my pots to be
functional to be loved and enjoyed by those who purchase them. I make bowls, vases, teapots, etc all of
which are thrown on the wheel but sometimes I reshape them after throwing for a change from the
symmetry of the traditional forms. I usually work on a few lines at the same time, some for shops, others
I exhibit in galleries. These are what I call my "special pots" in view of their glazes and decoration.
My inspiration is nature, in particular sea life, and my Danish background possibly shows in my work, eg
the simple shapes, soft tactile glaze finishes and a restraint in use of decorations. I have had four solo
shows, taken part in many selected group shows and exhibited in Denmark in 1998. My work is in Banyule
City arts collection and Cairns City art collection. I have won three awards in 1997, 1999, 2001.
In 2000 I travelled to the Australian outback and this inspired some new bowls and vases. They have
lines scratched through a thick white glaze to expose the red brown clay. Just like patterns drawn in sand
on red rock,
Lene Kuhl Jakobsen. Heidelberg, Victoria
DECEMBER 2001 - POTIERY IN AUSTRALIA 21

MARITA KOHL
Sisters Ilying senes, detail,
under glaze colour, transparent glaze
In the brighter moments of my life as an emerging ceramic artist, potter or ceramist, I see my functional,
slip cast objects as offerings to daily life. This sounds sweetly in my ears in a profession where even the
title is problematic and confusing. Who is a potter and who or what is a ceramic artist?
Making ceramic objects is a lengthy, complex and oftentimes frustrating process. One can get pin holing,
crawling, dunting - the list of faults can seem endless. Then there is the big question. "Will someone buy
it?" Issues of consignment. marketing, transport, payment etc. The title of a novel by Arundhati Roy. "The
God of Small Things", comes to mind. Like a God, the small things that I make are hard to please and hard
to come by. Under these conditions why would I make and add more things to the clutter of things in our
world'
The answer for myself is because they have meaning to me. They make sense in my life. They add a
sense of humour, sincerity, understanding and humility. I make two ranges of objects which I call the Lily
series and the Sisters flying series. I make ordinary easily recognisable shapes for cups. beakers, jugs,
bowls and platters. They are slip cast in porcelain and fired to 1280 ·C in oxidation. Suzi Lyon from Union
Street Design Studio, Lismore. taught me the use of decals. Their design and application on these forms
became an intricate part of my work. The adventure in these objects lies in their imagery. where they come
from and their interaction with these everysday objects.
The Lily series:
While I studied ceramics, the Arum lily crept into all areas of my work. Inspired by German Romanticism,
everything I touched looked like a chaotic. seething, twisting, furling and unfurling mass of Arum lilies.
They often represented human shapes and traits. They embodied the human drama. Around the same time
a friend died of cancer and the Arum lily has a link to death. Once they were used only in funeral
arrangements. Another preoccupation in my inner life has been a sense of displacement and alienation.
I had moved to Australia without clear direction or desire to be here. Many things were foreign - not least
the language of which I had only a superficial grasp. I was unhappy for a long time longing for my friends,
family, culture and language. Yet slowly and imperceptibly I changed, was changed by what I found here
and felt welcomed by I discovered a new land, language, space, myself and yet there was a defining
moment when I really arrived here, ten years after I had physically arrived. And it occurred when I saw an
Arum lily in flower in a wet gully on the coast of Victoria. Its unconcerned, pale, pure beauty took my breath
away and gave me a sense of my own insignificance. And it flowered in this land just as it had done in the
one I came from. The symbolic meaning stays with me even though the images have become small and
are made into decals.
22 POnERY IN AUSTRALIA - DECEMBER 200 1

Lily Senes, tray, cup
and Jug, underglaze
colour, transparent
glaze
The Sisters Flying series:
I grew up in a traditional German household with clearly defined work duties for men and women.
My brothers were explicitly forbidden to do housework which was seen as demeaning to them. My sisters
and I were taken to task to clean after everybody. In spite of many restrictions in our childhood. my sisters
and I embraced an adventurous life. We broke with conforming tradition - sometimes easily. sometimes
painfully. All those dishes. clothes lines. scrubbing surfaces made us resolute to fly free. The very tools of
limitations became the vehicle to an authentic life unchartered by tradition and religion. Seeming adversities
enriched and enlivened our lives. This is expressed through the image of women flying after. and being
pulled away by towels or surrounded by roses. They are simple and quirky images that impact positively in
my daily life. They focus on the good that can come from difficult life situations and therefore give power to
an individual that is no longer a victim of circumstances. By offering these small yet meaningful objects for
daily use I hope to enrich other lives as well.
Marita Kohl, Ewingsdale NSW
Photos: Chris Marr
Sisters Flying series cups, underglaze
colour, transparent glaze
DECEMBER 2001 - POTIERY IN AUSTRALIA 23

PAM SINNOTT
'Our daily l abour"
Earthenware,
65 x 47 x 8 em
"Give us this Day" was the title of an exhibition
held during October, 2001, at Mura Clay Gallery in
NeWlown, Sydney. The title for the exhibition is
derived from the sprigged text incorporated on the
rim of one of the platter forms in the exhibition. The
complete text is "Give us this Day our Daily Labour".
Through their similarity of form; use of bright
coloured gloss glazes, and in their style of relief text,
the exhibited forms are intended to reference the
bread trays which were produced at the historical
Lithgow Pottery '.
However, the original bread trays, although glazed
with many varied techniques and colours, have a
singular relief text that reads "Give us this Day our
Daily Bread". It was this text and the original
function of the tray itself that generated the
thoughts and ideas that led to the production of the
contemporary platters.
Until the industrial revolution it had been a
woman's duty to make the bread that was provided
to the household. ' It was demanded and expected.
In colonial times "Governors and officials arrived in
Botany Bay with set ideas about men and women's
work, and with the power to enforce those ideas.
Women were thought to be necessary to the penal
colony, but not as workers in the public interest.
Their proper role was as wives and mothers" ' .
In the early years of the colony there was such a
shortage of food that even "guests to Government
House were expected to bring their own bread'" .
Bread making was a basic skill that women had to
learn. It was also one of the hardest.
24 POTIERY IN AUSTRALIA - DECEMB ER 2001

Mrs R. J. Fuller wrote of her experiences of settling in
South Gippsland in 1878:
"Being used only to town life, I had everylhing to
learn and no neighbours near enough to get any
knowledge from. My first recipe for bread-making was:
Put yeast in the flour, and some warm water, and let it
rise all night; in the morning put some more warm
water to it and make it stiH; when it is risen enough
you bake it. Needless to say, there were many failures,
and the bread-making was a thing I never liked,
although for many years I never used less than a ton
and a quarter of flour, and one year two tons.'"
Today the type and extent of women's domestic
labour is far diHerent to that of colonial times. For the
modern woman, advances in kitchen technology
including the advent of refrigeration to replace
evaporative coolers (including the Coolgardie Safe); the
invention of the stove to replace open fire cooking, and
the development of modern appliances and gadgets
has significant contributed to lessen the domestic
labour that her colonial counterpart had to endure .•
Domestic labour, however, is still predominantly
women's work even though more women today are in
the paid workforce. More than not. a working mother
still has to come home to do the cooking, cleaning,
childrearing, washing and ironing.
The work in the exhibition at Mura Clay Gallery
developed in order to acknowledge both women's
traditional kitchen labours as well as women's
continuing domestic duty in the kitchen. There were
twenty-one platters with eight of the platters being
scaled to be approximately twice as large as the
original trays of 65x47x8 centimetres. The remaining
platters of 42x30x6,5 centimetres were made to
approximate the dimensions of the originals.
Excluding the title work, each of the large platters
had relief text applied to the centre naming a kitchen
utensil. Each of these platters had a corresponding
small platter that described the action of the named
utensil. For example, Cleaver - chop; Spoon - stir;
Top
"whIsk". 42x30x6.5 em
Centre
"Strain", 42x30x6.5 em
Bottom:
"grate", 42x30x6.5 em
DECEMBER 2001 - POTIERY IN AUSTRALIA 25

"Sile Earthenware, 42x30x6.5 em
~St tte r " , Earthenware. 42x3Ox6.5 cm
Sifter - sift; Strainer - strain, Beater - beat. etc. As
well, the title work Give us this Day Our Daily Labour
supported two small platters - one with 'kitchen' and
the other with 'utensil', thereby providing a key to
the concept behind the exhibition.
Technical:
Each platter was formed by using slabs of Keane's
White Earthenware No. 37 pressed into a plaster
mould. Much of the surface of the form was
completed at this stage. A 'rope' coil was added to
the rim and handle cutouts. This was made first by
extruding a coil and then rolling it over a rope
impression mould. The lettering was applied by
using sprigging techniques with the lettering being
previously modelled and moulded. When leather
hard, the platter was inverted so that a high slab
foot could be joined on and the surface smoothed,
especially where the 'rope' met the main body of
the form. After drying, the platter was bisque fired
to 1080 degrees Celsius. A glaze firing at the same
temperature followed this. To obtain the glaze
colours a commercial clear glaze was given
additions of red iron oxide for yellow; copper
carbonate for green, and cobalt carbonate for blue.
Endnotes
1. Evans, I. The Lithgow Ponery. Sydney,
The Flannel FIOlNer Press, 1981
2. Go ltan. A. The Tradition of Australian Cooking, canberra,
Australian National University Press. 1978.
3 Avehng, M. and Damousi. J. (eds.J Stepping Out of History,
Sydney. Allen and Unwin. 1991
4. Vigar, P. Australian Colonial Cookery, Adelaide. Rigby, 1977
Aveling and Oamousl, Stepping Out of History, 1969
6. Gollan. The Tradition of Australian Cooking. 1904
Pam Sinnott is a senior lecturer in the School of Fine Art.
Fa culty of Education and Arts, The University of Newcastle.
26 POnERY IN AUSTRALIA - DECEMBER 2001

GORDON FOULDS
'ChoOk',
Walkers earthenware, majolica,
overglaze decoration, 1100c
Humour and wit at the table
After graduating from the Plymouth College of Art in 1970, English born Mark Capon worked in the
building trade before coming to Australia on a working holiday. Being an adventurer at heart he got a job as
a general hand on a trawler in Northern Australia, and spent the next seven years working hard and
enjoying the great Australian outdoors. In the mid 1980s, drawn to his original fascination with ceramics,
Marc enrolled at the Underdale College of Advanced Education in Adelaide where he gained a Diploma of
Design in Ceramics in 1987. He fo llowed this with further studies from 1988 to 1990, gaining a Bachelor of
Ceramic Design at the University of South Australia.
Describing himself as "a very practical person", he was very focused throughout this time, learning all the
skills of glazing and construction, hoping ceramics would provide him with his future employment and
direction in life. After graduating Marc became an access tenant at the Jam Factory Workshops in Adelaide.
While working at the Jam Factory, his work was influenced by Steven Bowers, then head of the Clay
Workshop, "Steven influenced me in terms of quality and finishing of product so that I'm now a
perfectionist" .. Throughout, and from that time, he has attained his ambition and been a self-employed
ceramist. "When I hear people talking about their workplace, I'm glad I'm not there", he says, and adds,
"I thoroughly enjoy the total escapism of working alone". He also believes that until this time, the variety of
work he had done and his life experiences combined to make him a better and more committed ceramic
artist.
Marc's work gained ready acceptance in the marketplace and he has been involved in numerous
exhibi tions, both solo and mixed, in South Australia, Victoria, New South Wales, Queensland and the ACT
While he enjoys exhibitions, he says they can be very stressful although they might cause him to both seek
and find new themes or directions in his work, In terms of themes, we have seen and enjoyed a number of
these, while it became evident very early in the '90s that humour was a major aspect of Capon's work,
His first theme came to him from his own quirky sense of humour; he enjoys telling jokes and
DECEMBER 2001 - POTTERY IN AUSTRALIA 27

'Jack Pots', earthenware, undergtaze, Bristol, 1 14Oc,
h. 34cm. 2Ocm. 12cm
responding to the wit of others. This led to "Chook", a cartoon-like hen who did the most amazing things
and was the subject of a series of ongoing misadventures. Fired to 11 ~Oc, Chook featured on a continuing
range of domestic ware which Capon describes as "cartooning on plates'. For this series, he used a
majolica glaze, of which he says, "Majolica has a soft lush look. Its colours can be very uplifting and it is
always lovely to touch. It is currently my favourite glaze'.
Like many ceramic artists, he had an interest in teapots and felt they provided him with another
opportunity to indulge his sense of humour. Consequently he developed his teapot designs and produced a
new theme, a range which he called Jackpots. Fired to 1300c, he decorated them with the Jack characters
from playing card s, initially hoping to sell them to the clientele of Adelaide's newly opened Casino.
However, they fell victim to their own success; they were so superbly decorated that it was generally
assumed that they were mass-produced and machine-printed, He still continues to produce teapots
occasionally, but quickly moved on to his next theme, "Octopus" once again about the misadventures of an
amusing, clever and adventurous sea creature,
This led to his current theme which he describes as his most successful series so far, "Teeming" for
which he uses Walkers Earthenware fired to 1140 c. He says that in this series, "Everylhing has come
together, the structure and the cartoon-like expressions of the fishes. Most of my fish have different
expressions. I just love doing them". The fish are press moulded, and decorated in black and white on a
white background. Travelling in the same direction around the side of his bowls, platters and jugs, they are
amusing and happy works , He recently wrote: "This series enables a closer link between my designs on
paper and the image on a fired ceramic piece, I view the shoals of fish with their slightly banal expressions
as a reflection of and typifying crowds of commuters all imagining a unique journey of purpose but in reality
all going in the same direction". This range has now been extended to include all the pieces normally
associated with domestic ceramics, such as bowls, platters, mugs, jugs, vases and teapots. While some of
these are completely pierced and carved, such as the whimsical jugs and vases, other pieces are quite
practical and usable. In these, the fish motif would be confined to a border around the edge of each piece.
He finds this series a most enjoyable extension to the years he spent with the Raptis fishing fleet in the
Gulf of Carpentaria.
2B POITERY IN AUSTRALIA - DECEMBER 2001

Teeming Teapot. earthenware.
underglaze. Bnstol, 1100c.
h.14cm
Photo; Grant Hancock
His humour which is seldom very far away, was
evident in a set of dishes which he made for an
exhibition titled THE BOWL. THE PLATE AND THE
JUG. Rather than make a bowl. a plate and a jug, he
produced three dishes which he illustrated with a
toilet bowl, a set of false teeth and the inside of a
gaol cell. A visit to Capon's studio is a most happy
experience as he gives one a conducted tour
through his sketch books which consist of literally
hundreds of cartoon-like drawings which often
provide him with ideas for pieces like those
described here.
He now accepts exhibition invitations from
throughout Australia, and has commissioned works
in the United Kingdom, the United States of
America, Japan and of course Australia where he
has a piece with The Department of Foreign Affairs
and Trade. His major works, now mostly the
Teeming series, go to a gallery in Sydney where
they are sold to a gallery in the USA. His curriculum
vitae grows continually more interesting, although
he laughs and says, "The best is yet to come".
Gordon Foulds is an Arts writer from Queensland .
His working life has been spent in the performing and visual arts.
and in arts education.
DECEMBER 2001 - POTIERV IN AUSTRALIA 29

movement DIANA KLAOSEN
'Quail Jug', slipcaSl
Tasmanian Tableware by Dawn Oakford
Hobart-based ceramic artist Dawn Oakford is well
known for her highly original, zoomorphic tea and
coffee sets, mugs and jugs and other tableware
items. Working from her purpose-built studio in one
of Hobart's most pleasant. leafy suburbs, the former
art teacher and Masters graduate from the
Tasmanian School of Art continues to explore the
use of fauna-inspired forms in her work which
seamlessly spans and defies the recurring notion of
the art/craft divide. Whilst her work is usually
intended to be - and is - fully functional, each piece
or set is a unique and collectible art object in itself.
Moreover, Oakford's work is very much infused with
her own palpable joie de vivre and subtle sense of
humour.
With a background in more traditional, thrown
pottery, Dawn Oakford came to her highly individual
style when she returned to postgraduate study and
became increasingly drawn to the technique of slip
casting. She explains, "I became captivated by the
technique. I enjoy the faceted and asymmetrical
forms it enables me to produce. "Making functional
vessels yet working initially with more experimental
shapes, she became aware that the form of a row
of her slip cast jugs echoed that of birds perched
along the studio shelf. This led inexorably to her
increasing use of stylised forms of native birds,
animals and fish as the starting point for her work,
all of which is glazed and decorated appropriately.
While it is not unusual to find animal motifs or
shapes employed in ceramics. Oakford's work is
different and distinct in that her practice is informed
by a strong awareness of art historical trends, with a
particular interest in Futurism and its characteristic
exploration of dynamism, movement and speed,
expressed through bold colour and strong, striking
form.
Oakford observes that her pieces incorporate
"suggested, or frozen, movement", an intrinsic
aspect, clearly, of depicting most animal forms.
Viewers will also likely notice other abstract
influences, all united in works whose surfaces are
30 POnERY IN AUSTRALIA - DECEMBER 2001

'Over the moon" teapot. shpcast
"lone Wolf' teapot, slJpcasl
nonetheless, recognisably figurative. Oakford is also
influenced by the ornate domestic ceramic
traditions of early 18th century Britain and France,
along with individual artists including the
Hieronymous Bosch and Franz Marc.
Oakford explains, "My work is predominantly a
celebration - not only of the animals and birds
depicted but also of some of the domestic rituals
that we perform each day." She enjoys the fact that
her work brings pleasure to people and is adamant
that the pieces are functional and are for daily use.
Too much ceramic work can be treated as
"precious", thereby denying its owners the
enjoyment of real, daY-Io-day contact with and
experience of it.
She continues, "I enjoy experimenting with
various combinations of casts to produce functional
items that stretch the boundaries of usefulness in
some way. 'Over the Moon', (1999), a teapot
depicting a non-native animal, the rabbit. is an
extreme example of this." In this punningly titled
work an athletic and sturdy rabbit. legs stretched
and ears aloft leaps over a rounded, black sky
complete with full moon. As with all Oakford's
work, the design is ingenious: the rabbit's front
paws form the teapot's spout, his back legs part of
the handle - and one ear - the lid - can be removed I
Similarly, while Oakford works with the repeated
use of chosen shapes - one of the main rationales
of slip casting - for her pot bodies, cups, mugs,
handles, spouts and so on, she has a sufficient
range of forms and elements and is able to
assemble and apply them in different ways, so that
finished works, whether large sets or individual
vessels, can truly be called "one-off" artworks.
Extending this idea, Oakford is currently interested
in exploring the creation of "assemblages" from
off-cuts of cast work.
The human form can be very effectively and
whimSically employed in Oakford's work. For a
commissioned set celebrating the Sydney
Olympics. Oakford managed the extraordinary feat
of producing teapots echoing the shape of
powerful female gymnasts and swimmers - one
in particular, deliberately solid, and strong and
confident. surging through stylised water in a
determined freestyle, subverting the idea of the
slim, toned female athlete and celebrating the
larger woman ... Oakford remarks that she was
partly inspired in this work by the dappled effects
in the Swimming Pool series by David Hockney.
Similarly playful titles are a feature of much of
Oakford's work, the gently humorous forms and
styles, the unexpected and often almost
unbelievable functionality inevitably evoking a
correspondingly and suitably amusing title for the
work. Other pieces are more literally titled, "Quoll"
and "Numbat" for example (both large teapot and
small jug ensembles). Sometimes. with the rarity
and unfamiliarity of Australia'S wildlife, this is likely
to be useful for buyers and gallery visitors -
especially overseas viewers, who might otherwise
not be precisely aware of the rare animal being
DECEMBER 2001 - POTIERY IN AUSTRALIA 31

'Gouldian Finch' teapot. slipcasl
Photos: Uffe Schulze
depicted. The two sets, "Quoll" and "Numbat" are, in fact.
essentially similar in their stylised animal form, but it is
Oakford's extremely skilful and innovative glazing and
decorating of each piece that gives them each a unique
identity.
The Tasmanian Tiger, with its almost mythical status - and
on-going conjecture about its extinction or otherwise - is a
powerful and appropriate source of inspiration for Dawn
Oakford's work. The depiction of this creature is, she feels,
her part in a warning to humanity to be more careful of our
natural environment. This series is poignantly titled Lone Wolf.
Oakford has built up a successful independent ceramics
business, combining practicality, aesthetics and innovation
and filling a definite niche in the market. here and abroad.
She has maintained a multi-faceted practice, continuing her
teaching by running workshops for potters and art teachers.
She has showed work in some 40 group exhibitions
throughout Tasmania. interstate and abroad, holding solo
shows at regular intervals. Her work is held in major
collections in Australia and overseas.
She has also won some dozen major awards and is
considered one of this country's most eminent artist-potters
in the field of truly functional, aesthetic handcrafted
tableware.
Diana Klaosen completed her MFA at the Tasmanian School 01 Art
and is a Hobart-based arts writer-curator.
32 POTIERY IN AUSTRALIA - DECEMBER 2001

the heat, get out of
the kitchen
TONY CAMERON
Lorna Tilley 'The Egg Basket',
earthenware. cngobes, glaze,
leaf h.58cm
The kitchen is the centre of the home. It is the place where
ideas, hopes and dreams are shared over a cup of coffee,
where political debate rages over a plate of pasta and where
comfort and warmth are sought in an extra helping of stodgy
pudding. On the darker side, it is also seen as a place of no
particular importance to which women have traditionally been
relegated. Even in the twenty-first century the belief that
Kirche, Kuche, Kinder (church, kitchen, children) define the
proper boundaries of a womanis world is still held by many.
Out of the Kitchen. an exhibition of sculptural ceramics by
Lorna Tilley and Gaye Weller, took place at Yarralumla Gallery,
Canberra, earlier this year. The artists responded very
differently to the theme. but the show was tied together by a
humour manifested in works which spanned the ironic to the
whimsical and which invited the viewer to participate in
exploring the subject's possible interpretations.
Tilley's works comprised an eclectic mix of feminist
comment (the Outrageous Appetites series puts flesh on the
Freudian nightmare of the vagina dentata); political statement
(Mother Hubbard Searches for Gaia's kitchen calls for
equitable distribution of the world's resources) and nonfunctional
crockery made as a homage to favou rite artists
(Coffee Pot for Matisse and Gaugin's Jug).
All Tilley's works were floor pieces, and many relied on the
viewer reading both front and back for a full understanding of
their message. "Mother Hubbard", the artist's most serious
piece, shows an old woman, an empty cupboard and
expectant dog on the front. and a cornucopia of food beneath
Planet Earth, on the back (If we share, there is enough food
for all of us). "Tropical Fruit Sunrise", a work of wish
fulfilment. tells-through a series of images that are to be read
Center' Lorna Tilley, 'Outrageous Appetites',
(The Way 10 a Man's heart) - black fired. glaze h.28cm
Bottom: 'Gaugins Jug'. earthenware, engobes. glaze.
h.34cm
DECEMBER 2001 - POTIERY IN AUSTRALIA 33

lorna Tilley. 'CoHee Pot for Matisse'. earthenware,
cngobes, glaze, h. 48cm
Lorna Tilley, 'Mother Hubbard searches for Gaia's kuchen'.
earthenware, engobes. glaze. h.34cm
as elements of the story - of escape to a paradise
evoked by the exotic contents of our fruit bowls.
Most of Tilley's pieces had multiple layers of
meaning. The top layer was visually witty, but
underneath were complex messages. "Winged
Shoes, On The Pill, Out Of The Kitchen" defies the
recipe 'barefoot. pregnant and in the kitchen' and is
a powerful piece in its own right. But its form, in
part, refers to Albert Tucker'S misogynistic depiction
of women in his Modern Evil series. Tilley has taken
the watermelon smile of Tucker's image and
translated it into a symbol of power, complete with
teeth. The Egg Basket could be used to store eggs
on a kitchen bench top, but its ovaries sport spurs,
its womb shape talks of women's fertility and the
exterior, with incised phases of the moon, refers to
the passage of time.
Weller focused on oddly named recipes,
presenting literal and sometimes surreal images of
how the final product might turn out if you followed
the recipe faithfully, Just what would Pigs in
Blankets look like, anyway? Obviously, they would
look like wonderfully pink porkers wrapped in lemon
yellow blankets, mounted like the classic three
ducks in flight. Weller says the quirky names
ascribed to prepared dishes have always appealed
to her sense of humour. A traditional English menu
that reads Angels on Horseback followed by Toadin-the-Hole
with Spotted Dog for dessert gives little
clue as to what is being served, so she decided to
help the viewer picture such offerings.
Mounted on glass and placed in wooden frames,
Weller's ceramic pieces are three-dimensional
pictures designed for the wall of a kitchen or a
dining area or, for that matter, a hallway or a living
room. Each illustration is accompanied by the full
recipe (printed on clay), as if seen in an open recipe
book or on pages pulled from a recipe book. And
34 POTIERY IN AUSTRALIA - DECEMBER 2001

Gaye Weller, Jugged Hare', Paperclav,
dry glaze. glaze, glass mount wooden
frame, h 35cm
Gave Weller, 'Potted Trout' Papcfclav,
dry glaze, glaze, glass mount wooden
frame, h 35cm
Gaye Weller. 'Toad in the Hole'
Paperclay, dry glaze, glaLc, glass mount
wooden frame, h_35cm
yes. the recipes do work - although some are not really in
keeping with today's culinary sensibilities.
Both artists are well established in the ACT and have
collaborated in exhibitions before. Although working in very
distinct styles. both have excellent control of their chosen
techniques. Weller producing finely finished pieces and Tilley
seeking a more dramatic. spontaneous effect. In this instance
the artists' individual approaches to the theme and their
differing modes of presentation allowed for an entertaining -
and often challenging - juxtaposition of works.
Technical notes
Weller'S pieces are hand built in paper clay to keep work
light. then treated with engobes and black fired or dry glazed
as appropriate. The recipe is transferred to leather hard paper
clay from a reverse image photocopy using pressure and
turpentine. and the fired result is a sepia coloured print.
Tilley's pieces are handbuilt in earthenware clay. All work is
low or medium fired. and either (a) treated with engobes
and/or dry glazes and fired in an electric kiln or (b) with terra
sigillata and blackfired. reducing with sump oil. She has also
used variegated and gold leaf and a bronze patina (applied
after firing) in some works.
wvvw.lornatilley.com
Photos : Lorna Tilley
DECEMBER 2001 - POTTERY IN AUSTRALIA 3S

CHRIS JAMES
'Teaser, pale ccladon glaze,
reductIon Cone 10
Focus on Glaze Application and Consistency
Celadons are quite simple glazes which posess a
beauty and subtlty which ceramists have sought the
world over. Generally they contain potassium or
sodium combined with calcium, alumina and silica
+ 1 % ironoxide and that is all you need. Although
simple in their formulation the mysterious qualities
which have set some glazes above others still
present a real challenge. A good celadon has a
generous scoop of subjectivity involved. There are
thousands of recipes to be found, the recipe is
imponant but it's not the only piece to the puzzle.
Application and control of the recipe as a liquid in
the bucket plays a huge role in a successful
celadon, or any glaze for that matter. Glaze
application and consistency is the focus of this
article.
The following recipe was inspired by a lovely
bottle green celadon made by Ivan McMeekin.
Soda feldspar
Whiting
Silica 200#
55g
15g
30g
Iron Oxide 29
Bentonite 29
Unity formula calculated using Matrix Glaze
Software.
KNaO 0.38
Cao 0.62
0.47
4 58
Glaze thickness is often judged by experience.
It can be as simple as the look of it when you stir or
the way it coats your dipped finger. If that suits your
working method that's great then read no funher.
If you seek a little more control, then adjusting
density through litre weights and glaze poise,
through flocculation, may help improve your results .
Clay Body
Another factor in a good celadon result is the
choice of an appropriate clay. Again what's good is
totally subjective and you may prefer the results of
an iron stained body; the clay body beneath plays a
huge role in the result. Clean crisp celadon results
require the pu rity of porcelain to allow them to look
best. I use Keane porcelain for its versatility but
36 POnERY IN AUSTRALIA - DECEMBER 2001

'fluted Teapot', dark celadon
glaze, thrown and fluted,
reduction Cone to
Photos: Design 17
I have also used Walkers superior white and
Clayworks Southern Ice at different times, all
giving clean results.
Density
Density of your celadon is important. Thin
celadons can look stingy and lifeless, too thick and
you risk excess movement of the glaze or
obliteration of your decoration. Density is the
weight of one litre of glaze and the usual range for
this is 1.3 to 1.6 kg per litre. Conveniently one litre
of water weighs 1 kg so if your litre of glaze weighs
more than 1 kg then it has a higher litre weight due
to the solids suspended within. For repeatable
results weigh your glaze when it gives you a result
that suits you. Most of my celadons fall between
1.4 to 1.5 kg per litre.
Flocculation
Glazes of different formulation may behave very
differently in a physical sense. How the glaze
behaves during application can save you a great
deal of fettling time in your work process. I dip all of
my glazes unless the form is prohibitively large. To
dip effectively I spend a little time adjusting the
glaze poise through flocculation. By "poise" I mean
the glaze's nature upon application to the piece.
I am after a nice creamy even coat with few if any
dribbles to clean up. To create this state my glazes
are modified using a flocculent. My favourite is
Calcium Chloride, vinegar, epsom salts and others
may be used. Available from you pottery supplier,
cal chlor arrives in a sort of crystal form and is
added to water in a ratio of 2 water to 1 cal chlor, by
weight. to create a solution for addition to glazes.
Care should be taken to read the safety info for cal
chlor.
Heat is generated as the calcium chloride
dissolves in water so allow for this by making it in a
bucket where the heat will be easily dispersed, then
store in a lidded container when cool. Flocculents
cause the clays within your glaze to arrange
themselves in a card house structure and they are
most effective on bentonite although they work on
kaolins or ball clays. Note that bentonite in a glaze
at 2% without flocculent does not do a great deal
to suspend the glaze.Flocculents function by
helping the bentonite keep all other materials
suspended. Every glaze will need different amounts
and react differently so you will need to explore and
find your level of addition using the following steps:
1. Mix your glaze to desired denSIty.
2. Take a known amount. say 500ml in a jug.
3. Add a few drops of solution to your 500ml and mix.
The glaze should become a little more viscous.
4. Dip a test tile and note how the glaze sits on the tile
5. Continue this way adding more flocculent ontil you are happy
with the behavior of the glaze or you overdose. It is quite possible
with a glaze containing 2% bentonite to thicken It with flocculent
to the point where it behaves like yoghun.
6. The idea is that you can discover the amount of deflocculent
needed. record and then add this to the big batCh.
More on how flocculents work?
Potters Dictionary of Materials and Techniques.
Frank and Janet Hamer.
chris.ceramic.designs@lelstra.com. W'V'ooW.ceramicdesign.com.3U
OECEMBER 2001 - POTIERY IN AUSTRALIA 37

CHRIS SANDERS
A personal journey
The celadon glaze was an early milestone in my career, because it introduced me to the mysteries of
high temperature reduction firing. My early experience of glaze-making extended to the mild doctoring with
oxides, of commercial fritted glazes. The effects were adequate, but a bit limiting for a young man who
had just read Leach's "A Potter's Book". Our family friend Joan Armfied had a small gas reduction kiln
which entranced me. I yearned for the romanticism of its belching reduction flames, as opposed to the
impersonality of our home electric kiln, with its drearily similar results each firing cycle. With Joan's advice
I built a small gas kiln, and with a swag of oddly named ingredients such as Potash Feldspar, Whiting and
Silica made my first successfully reduced celadon glazes, according the Leach directive. I didn't need much
urging to abandon earthenware. From Leach I moved on to the books of American educator and author
Daniel Rhodes, whose reference to the quiet symphony of the reduction glaze lent more credibility to my
move. Age and hopefully wisdom temper these experiences, but they serve to underline my early passion
for this element of the ceramic firing process.
Ironically, during this period of the early seventies, it was difficult to find many celadons, let alone those
of high quality. The more fashionable and subdued Japanese aesthetic, which was demonstrated by the
predominant iron glazes, or matt and dry ash glazes were far more popular then. The soh green-blues of
the tat early Song period and the later glassier Ming dynasty glazes were mostly unfashionable and
unappreciated in the ceramics community.
Harold Hughan, the indomitable potter of advanced years who in retirement introduced Leach's glazes
and philosophy as well as pioneering high temperature reduction fired glazes in Australia, was a notable
exception. Hughan preferred olive hued celadons, which are more characteristic of early Korean glazes.
These were well matched to his dignified beaten jars for which he became deservedly renowned.
A research project in this area could begin with a trip down the "memory lane" of the early editions of
'Pottery in Australia'.
In the late 70s I set off on a tour of America where my first stop was the West Coast. At the time, some
notable ceramists were focusing on form, and so-called primitive pit-firing was fashionable. There was of
course a corollary to this trend, in which another group of ceramists was using very high technique to
create elaborate surfaces and forms. In the former group, Richard Hirsch comes to mind, with his large pit.
and sometimes raku fired bowls and vessel forms, and with the latter, the creativity and virtuosic technique
of artists such as Nancy Carmen and Patti Warashina should be nominated. Back on this study tour, while
strolling through the Golden Gate Park in San Francisco I came across the Avery Brundage Museum (its
38 POTIERY IN AUSTRALIA - DECEMBER 2001

OpPosite PiJge
Blue ccladan. charactarlslic of the
Lung-ch'uan from tho Song and Yuan
Dynasties In China
ThiS page
Yueh celadons from the Yuan
Dynasty period. notable for thf!!r ali'le
{.freen hue and hard surfaces
home page can be found on the internet) which
specialises in Asian art, To my great surprise, I
stumbled on superb examples of Chinese ceramics,
including a selection of celadon-glazed ware,
Here I saw the real celadons, as opposed to the
quick-fire modern glazes to which we are so
accustomed, I saw the Lung Chuan glaze in its
thickest. most translucent jade green, and
wondered at my early tinkering with the grey greens
of the Leach recipes I had been using. I came to
realise in the coming months as I toured across the
United States, that its museums are treasure
houses of ceramics (and so many other beautiful
objects), the legacy of the many super-wealthy
barons and benefactors of the nineteenth and early
twentieth century period of economic laissez-faire,
The Metropolitan in New York, and the museums of
Boston and even Kansas City all contain superb
examples of Chinese ceramics, including plainer
and earlier Song Dynasty examples which are more
to my own and contemporary taste, In this league,
in terms of quality, but with fewer and perhaps less
impressively scaled examples, the Kent Collection in
the Melbourne National Gallery is a much missed
collection of oriental ceramics which used to be on
permanent display. During the '80s in Australia, an
awareness of the quality of traditional Chinese
glazes took hold of some commercial galleries and
their clients, and the works of Colin Levy come to
my mind, in particular, some superb flawless apple
green celadons. Levy's own blend of a very white
porcelain body predated the popularity of fine white
porcelains (such as the very difficult Limoges or the
slightly more forgiving Southern Ice) during the '90s,
Nigel Wood's Oriental Glazes has an excellent
recipe for an apple green celadon, but bear in mind
that the potential hue of any transparent glaze is
affected by the whiteness and purity of the body,
Trace elements of titanium in our locally produced
stoneware whites generally tend to tint a celadon
grey.This brings me to firing technique, The
aforementioned Lung Chuan celadons, with their
waxy fat glazes were not miracles of technology,
being simple clay, feldspar and lime mixes, It was
the purity of the kaolins, and particularly (by our
standards) the ultra-long firings in brick climbing
kilns, that allowed these glazes to sohen through
heat work as much as temperature, This sort of
effect can be effectively emulated (depending on
the glaze recipe) through a lengthened but
somewhat underfired firing cycle. Where a glaze
might be glassy at cone 10, it may be developed as
a soh satin by holding the heat around cone 8 for
several hours. The next important influence is
atmosphere, and I contend that reduction below
1000 degrees may induce carbon entrapment, and
at the least will grey a body to the extent that it will
dull the resultant fired colour of the transparent
glaze. Steady even reduction is preferable, with a
slightly heavier period and slower climb over the
DECEMBER 2001 - POTTERY IN AUSTRALIA 39

ElIzabeth Low, cup and beaker, celadon glaze
Photo : Terence Bogue
Elizabeth Masters, oval dish. celadon glaze
first hour rising about 100 degrees, then followed
by medium reduction without smoke and yellow
flame. The most efficient cycle will save fuel costs
and ease the amount of pollutant exiting from the
kiln. It also pays to set the primary air control of all
burners equally before reduction, and not so tightly
that back-pressure (induced by restricting the
damper) leads to excessive reduction.
Celadons need to be thickly applied and two
RMIT students, Elizabeth Low (Honours) and
Elizabeth Masters (year three) have worked
consistently with them during 2001 . Liz Low uses a
Southern Ice body, throwing. carving and
manipulating her beakers and related water jugs
and pourers. Of late, she has discovered she can
use the Nigel Wood apple celadon glaze, without
any iron addition, relying on the tiny amount of iron
impurity in the clay itself, to colour the glaze a faint
and delicate green. She finds that this glaze fits the
body well (which is a potential problem given the
tightness of true porcelains, which may dunt under
the stress of crazing), and that at cone 9 it has a
pleasant slightly soft texture, increasingly Shiny and
glassy by cone 10. Elizabeth Masters uses a
celadon which produces a deeper green, due to the
inclusion of red iron into the glaze batch. She also
uses this on Southern Ice, which is thrown and
altered, and both students fire in a Tetlow brick kiln
of around 16 cubic feet, using natural gas. A grey
green glaze is not especially difficult to produce.
The more subtle refinements of hue and texture
however require a much more focused study and a
steady approach to development. The choice of
body is critical to aesthetic outcomes, as is the skill
in firing. A celadon glaze on an ordinary pot is even
more ordinary. Celadon glazes take on a power of
their own in combination with a quiet pot that has
something to say to the person handling and
savouring its texture and colour. The quiet presence
of a good celadon glaze is a welcome relief in a
world dominated by flash and action.
Nigel Wood's Celadon
Potash Feldspar 25
Wollastonite 27
Kaolin (ekalne) calcined
Ball clay A 12.5
Silica 20
Talc 3
Add 1% black iron oxide for apple green.
Bibliography:
Leach, Bernard. A Potter's Book
Currie. Ian, Stoneware Glazes
Good general oveNiew- of glaze types, and useful
reference for serious research 01 specific glaze typeS.
Grebanler. J" Chinese Stonevvare Glazes
Although written in the late fifties, it remains an
important text for researching classic glazes.
Rhodes, Daniel. Stoneware and Porcelain
Seventies text which. although outmoded is written
in a Simple manner appropriate to studio
ceramics. Useful for an overview of glazes and
the decisions involved in their use.
Wood, Nigel, Oriental Glazes
Important text for researching classic glazes.
II
40 POTTERY IN AUSTRALIA - DECEMBER 2001

strength and
durability
ROGER KEANE
Choosing a clay body for tableware production
One of the most important aspects of quality ceramic domestic ware today is durability and strength.
Before ware is marketed it should be fully tested for practical functionality, glaze fit. glaze durability and
mark resistance, glaze toxicity, body strength (modules of rupture - M .O.R), apparent porosity, edge chip
resistance, microwave and dishwasher suitability as well as thermal shock resistance. Whilst glaze toxicity
should be lab tested, there are many other tests which can be carried out by the potter with a little
ingenuity and a common sense approach. For example plunging the ware into hot water then cold several
times in succession in an effort to accelerate the onset of shelling or crazing; if it is prone to craze it will.
Using the ware in your own domestic environment will reveal any weakness in manufacture or design.
Pottery books, magazines and encyclopedia provide valuable information on suitable tests that can be
carried out by the potter in a kitchen. Ware which passes all these tests can be expected to be durable and
give a satisfactory period of seNice. Durability of finished contemporary ware begins with consideration of;
1. Appropriate selection, and preparation of raw materials; 2, Correct design, according to materials
selected 3. The manufacturing processes through to the finished product.
The appropriate selection and use of the raw materials can be accomplished by purchasing them from a
knowledgeable and reliable supplier. When working with earthenware clays, where porosity is high, it is
extremely important to achieve good glaze fit. For example, Keane's white earthenware and terracotta clays
have been formulated to fit a range of commercially available glazes. All are food safe and correct
application and firing will produce a high quality finish. For stoneware and porcelain temperatures, recipes
should be available from your supplier. These will provide a starting point for further development.
The element of durability is largely dependent on design, shape, form and structural details of the ware;
the correct design of functional ware according to the properties and nature of the ceramic material used.
Earthenware, stoneware, mid-fire and porcelain each have their own different design criteria in regards to
rims, feet and body thickness. Often we see earthenware which has been inappropriately copied from
stoneware or porcelain and vice versa for stoneware and porcelain. The Italians have been successfully
making and using earthenware vessels for centuries. Thei r master craftsmen show an understanding for
making durable ware, by makings their rims and bodies much thicker than conventional stoneware. Also
glazing all over and firing on stilts. Their foot rings are fine because they do not have to support a
pyroplastic body in the firing. Dry footed earthenware reduces its durability and strength.
The ancient Chinese have shown their mastery of stoneware and porcelain and whilst contemporary
table ware may not follow their shapes and forms, their fastidious attention to rims and feet provides an
excellent reference, which we can apply to today's ware. Well made and designed contemporary
stoneware and porcelain is more durable and possesses more strength than earthenware; however, each
has its own important qualities and appropriate usage. For instance earthenware would not be considered
suitable for hotel kitchenware, whereas colourful and well designed earthenware can be a sheer delight in
the domestic situation. Contemporary earthenware stoneware, and porcelain domestic design is
developing in a colourful and innovative direction, compared to that of early Australian pottery.
Maintaining a high standard of durability and strength, as well as a unique modern style, will ensure the
continued acceptance and popularity of hand crafted ceramic domestic ware for the fu ture.
Rog er Keane ~ Keane Ceramics
DECEMBER 2001 - POTIERY IN AUSTRALIA 41

ma~~·
~~ ____________ __
deceptions JULIE BARTHOLOMEW
TrugJI Comfort' 2001
porcelarn. MOF board,
63 x 63cm
An exhibition by Nicole Lister
'Material Deceptions' is a recent exhibition of Nicole Lister's work at the Object galleries, Customs
House, Circular Quay in Sydney. This is Lister's second solo show and maintains a technically ambitious
level of achievement and continues her interest in contemporary "throwaway culture".
The initial experience of 'Material Deceptions' is distant and primarily visual, which seems to be
reinforced by the modernist. grid-like arrangement of porcelain objects. On closer inspection, Lister's
refined forms begin to activate the senses, particularly taste and touch, drawing the viewer into a sensory
alliance with transformed throwaways. This is the beginning of a path of deception, as the viewer
gradually experiences the exhibition's capacity to hold contradictions in tension.
The sensory effects initiated by these objects have a number of sources. Corporeal responses are
triggered by reference to the vessel form. The unshakeable tradition of the crafted vessel in ceramic
practice continues to evoke the everyday rituals of drinking and eating. Lister places the continuity of
vessel making in the realm of contemporary habits, of bodily consumption and the fast. immediately
satisfying takeaway culture of urban life, by using its throwaway containers and wrappings. This opens
further possibility for sensory response, evoking memories of takeaway delights, cakes and cookies.
Taste, touch and smell are activated and held in suspension, while exploring the fragmented remnants of
42 ponERV IN AUSTRALIA - DECEMBER 2001

Bottom left
Cwshlng Desire' 2001
porcelain, onglaze decal!'i.
engobe 16 x 22 x 15cm
Right
'Flocking Florals' 2001
porcelain. 80 x 58crn
food labels, packaging folds and corrugated twists.
'Crushing Desire' has an irresistible tactility. This
work began its existence as an upright waste paper
bag, Used like a plaster mould, Lister builds up
layers of porcelain slip inside. Fired together, the
castaway paper disintegrates leaving crushed traces
of its former existence, taking full advantage of
clay's capacity for mimicry. As a consequence,
there is a strong desire to touch the ceramic
creases and folds originally created by the
throwaway action of the hand.
Yet at the same time there is a collision taking
place between the delights of sensory experience
and the knowledge that these were once waste
objects, discarded in the gutter along with the
detritus of urban decay. These objects oscillate
between sensory delight, reinforced by the beauty
of their translucent surfaces, punctuated by the
occasional rose decal, and the less appealing abject
associations of disavowal as the carriers of bodily
sustenance are cast aside. Of course this
ambivalence enhances the fascination of the object.
The processes of quilt making were chosen as a
means of assembling the porcelain wall piece titled
'Frugal Comfort'. Lister recycles the unwanted
fragments of tests and off-cuts into a collage-like
arrangement. The torn, frayed edges and disparate
combinations appear to be stitched and layered,
reinvented within a grid structure and creating a
work with uncanny material density. I am reminded
DECEMBER 2001 - POTTERY IN AUSTRALIA 43

'WrappIng Cloth' 2001 porcelain,
11 x 75x75cm
PhotoS: Ian Hobbs
of the compression techniques used for recycling aluminum
cans and other castaways. The association of compressed
material density plays against the delicacy and lightness of
the white and coloured porcelain combinations. This is
particularly evident if one's former experience of porcelain
revolves around sipping tea from a "feather weight" cup.
Again Lister creates a sense of tension by conjoining
disparate components.
There is a pleasurable act of defiance evident when the
ordinary, everyday object intervenes in the art world. Lister
continues to play with our expectations and she does this to
great effect with 'Material Deceptions'. The centrepiece of
the show, 'Wrapping Cloth', investigates the power of texture,
repetition and light within a balanced format. taking us on a
smooth aesthetic ride only to be jolted by another deception.
To create these delicate, corrugated receptacles, Lister has
transformed the abandoned cardboard used for wrapping and
protecting precious forms.
The implied fusion of apparent opposites situates Lister's
work within the contentious zone of boundaries. These
tensions agitate the oppositions of modernism, such as art
and the everyday, aesthetics and function, contesting both
categories and questioning boundary making. The web of
discordant connections formed through the assemblage of
'Material Deceptions' evokes new spaces of innovation for
ceramic practice.
Julie BarthoJemew is ;) Sydney based practising ceramic artist, lecturer and
writer
44 POTTERY IN AUSTRALIA - DECEMBER 2001

integr~· ~~ ____________ ~
of form and
surface
MARY RYDER
The Gallery at Hornsby TAFE
Ceramic Staff Exhibition at Hornsby TAFE, NSW
The well-worn adage of harmony between
surface and form is exemplified in a recent Ceramic
Staff exhibition at Hornsby TAFE . Though diverse in
styles, forms and techniques, the beauty and
simplicity created through a harmonious interplay
between surface and form, exploited the innate
qualities of materials used. The integrity of this
diverse collection of work by the ceramic staff from
Hornsby TAFE is due to the control over forms,
surface and materials. Results are gained from
being able to manipulate technical knowledge to
express an idea or aesthetic.
A series of wheel thrown porcelain bowls by Julie
Truer were reminiscent of the prints of Margaret
Preston. Decorated with slip trailing the stylised
designs loosely referenced Australian native
flowers. Design was modified by function, hence
the slip was applied thinly for a smooth surface and
the drawn lines were simplified. Colour was
confined to black on white, emphasising the
patterns gestural lines. A semi-matt clear glaze was
fired in oxidation to cone 10.
Heather Hutchinson's lidded containers and
teapot forms disregarded function to create an
animated dialogue with the viewer.
The engaging charm of their extroverted exteriors
belied the smaller secret places within, revealed by
small lids and drawers that pull outward.
The porcelain clay was chosen for the energetic
bulging achieved within the forms by paddling and
hand altering extruded hollow tubes. This making
process expressing tangible movement and the
mottled colours and patterns of the shino glaze
enhanced the lively jauntiness of the forms.
The voluptuous vessels by Peter Steggall derive
from a sense of organic growth. The unctuous
DECEMBER 2001 - POITERY IN AUSTRALIA 45

Barry Blight. 'Platter', stonwafe,
glaze on gloze decoration,
reduction fired. w. 45cm
lichen - like surfaces of peaches, apricots and
blacks reinforce his emotive response to forms in
nature. The carbon trap shino glaze is fired in heavy
reduction to cone 10. During firing the soda crystals
melt and trap carbon, the purely random patterns
depending on crystalline formation on the glaze
surface as it dries before firing. The functionality of
the vessels is suggested in their titles, such as
prawn and champagne buckets, but the maker feels
the multiplicity of possible function is open-ended,
that it is an opportunity for the new owner of the
vessel to interpret.
The making process is paramount in the surface
and forms of John Edye's tableware, combining
precision and looseness, through juxtaposition of
mechanical tool marks and softer hand
impressions. John chose the clay body, a 50:50 mix
from Nelson N.l., for its sheen and chocolaty
wetness. Firing to midrange with light reduction
produced a subtle asymmetric blush within the clay
surface.The relationship of restrained refinement
over process and materials imbued the work with
energy and balance.
The slump-moulded platter by Barry Blight is a
receptacle for an exploration of colour.
The decoration is based on the stone floor patterns
of St Marks Cathedral in Venice. utilising repetitive
geometric shapes and varied tones. A sponge
stamping technique was used to apply the glaze on
glaze. to achieve softened edges. A temmoku base
glaze provided the desired viscosity. not too stiff or
fluid.
Janna Ferris's thrown Limoges bowls, dainty and
feminine. allude to the preciousness of old china in
glass cabinets. Influenced by the European
renaissance style. the work is overwhelmingly
decorative. Retaining a contemporary edge through
whimsical designs of female faces and abstract
patterning. using slip trailing and press moulds.
Lightness is also achieved with a restrained use of
colour.
Nostalgia for the past is also present in the work
of Kate Dunn. A clear perspex sheet. 2 x 1 m.
covered on both sides with cadmium orange
ceramic flowers. relate to time i.e. the '70s. The
flowers themselves correspond to place with
childhood memories of her grandmother's garden.
The suspension in space thus dividing a room.
acts as a metaphorical compartmentalisation of
innocence and nostalgia contained within the
present.
Terry Wright's handbuilt vessels spiral outwards
like a journey with a known beginning and end.
When the rim is reached the inner space is
contemplated. The construction process is visible.
edges are often fragmented and a sense of
universal cyclical life patterns is hinted at. in
repetition of spirals and shells. The porcelain
vessels with embedded coloured patterns floating
in the vessel walls are like a fragmented object from
a previous culture buried, in the earth. or a past
memory.
The ritualistic urn like vessels of Simone Fraser
re ference antiquity. Elements of classic forms from
46 POTIERY IN AUSTRALIA - DECEMBER 2001

Terry Wright. Vase. coil built.
Impressed decoration. oxides.
h.30cm
Poltery Kiln Gallery. June
varied past cultures are juxtaposed within one form. This hybridisation of past history is contemporised
by the exploration of shape and space, through the layering and stacking of forms. This layering is also
present in the rich textural surfaces, achieved with coloured slips and copper based dry glazes, fired to
mid-range in oxidation. The surface is further highlighted, with 24 ct. gold leaf or gold gilt. after firing.
The contemporary tableware of Chris James, represents sleek function. The forms are made from
slipcast porcelain to enable rapid high quality production. Water references dominate shape, with
undulating profiles and rounded soft forms. Glazes are soft. cool and flowing, chuns and celadons.
The translucency of the ware further inferences the water theme.
Photos; Peter Stegall
Janna Ferris. Bowl. limoges porcelaIn. h lOcrn
John Edye. Bottle forms. buff stoneware. h. 16 em
DECEMB ER 2001 - POTIERY IN AUSTRALIA 47

RAYE WILLIAMS
'S pace Cadet Vase', oxidation, 128Oc. h.39cm
Playing adventurous brings with it the terrors of
opening your kiln. Mackay potters Rick and Leonie
Wood decided the risk was worth it for the creative
rewards they have reaped in their major 2001
exhibition. The hand built pots take a form that
identifies with the music of silence, appropriate to
the music education foyer which housed their
August show, titled ·'In the Arms of Morpheus".
Sleeping, dreaming sometimes winged female
figures, in whose hands musical instruments
occasionally float, fit the soft, angular forms of the
hand built Feeneys white stoneware three and foursided
vessels. The honour of being invited to
provide a special exhibition at the new
Conservatorium of Music building at Central
Queensland University's Planlands, Mackay campus
inspired the couple to move from familiar wheelthrown
work decorated with tropical images to
hand built vessels with different glazes and a new
story.
Popularly known in Greek mythology as the God
of sleeping, Morpheus offered a creative escape for
artist Leonie Wood, which belied the anxieties of
rethinking her thematic and Rick's technical
approach. Constant life drawing practice underpins
Leonie's seemingly untroubled linear drawing style.
Her painterly attention to negative space, filled with
blue sky, cloud, fabric patterns of even stained glass
forms, brings out the figures in clear relief. These
images of cairn remained the focused goal during
weeks of trial and experimentation. Cracking,
probably caused by the failure of the large pots to
dry evenly during the pre-fired state, was a major
problem. The thrill normally associated with
opening the kiln turned to uncertainty, with each
partner urging the other to be the first to open the
door and risk the gut wrenching experience of a
new let-down. Five out of 10 large pots were lost
due to cracking in one firing. On the Tuesday before
the exhibition night of Thursday, August 9, the kiln
48 POTIERY IN AUSTRALIA - DECEMBER 2001

door opened to an excellent firing . With just those
two days to spare Rick and Leonie had succeeded
in producing some major centre-pieces of their
show. Of the 47 vases, boxes, plates and wall
hangings shown, the couple sold two thirds to an
enthusiastic opening night crowd.
The Conservatorium moved early to acquire a
large three figured vase titled Music for Morpheus,
for its collection. Conservatorium director Associate
Professor Greg Whateley, who performed at the
opening, said that outstanding exhibit would attract
a wider audience to the building, and underline its
new responsibility in fostering many forms of the
arts in Mackay. Rick Wood, who creates the post
for Leonie to decorate, said white stoneware was
not the easiest medium for hand built pottery,
which is normally of a coarser material, but it made
an ideal painting surface for Leonie, who works with
a brush or a fine slip trailer. She must work with
assured spontaneity on the fast drying surface. Her
colour is restrained but nicely accented with
soothing blues of the sky predominating on broad
surfaces in contrast to shades such as warm
orange, brick red, mauve, pale and olive greens and
occasional touches of yellow. There is particular
strength of imagery in mono painted works of
charcoal grey. The sleeping and floating images are
in thematic groupings Welcome to Cloud land
Series, Music Series, Lucy in the Sky Series, Wool
Gathering, Blue Cloud, Sleep My Angel. Dream a
Little Dream, Magic Carpet Ride and Joy Flight.
Starting from templates which lend precision,
Rick has produced clean but not harsh geometric
forms, ranging from curving off centre vessels to
triangular waist shapes, classic upward and
outward flowing forms. Leonie's shapely figures hit
the edges of the pots generally leaving an emphasis
on only part of the form, and at times the figure is
minimised to create a proportional sense of scale
with the rest of the painted area or dream-like
spaces beyond it. The white stoneware body was
fired at 1000c and after designs were applied the
vessels were fired at 1280c
'Welcome to Cloudland'. oxidalion,
1280c h 45cm
Photos: Rick Wood
Raye Williams is a Mackay artist and journalist.
DECEMBER 2001 - POnERY IN AUSTRALIA 49

dinnerparty
dead?
SUE WARRINGTON
Woody Hughes
Morgen Ha ll
Compared with organising a dinner party, the series of workshops planned by the Ceramic Arts
Association of Western Australia in October 2001 was a major undertaking, taking many months of
planning by a large committee. The resulting event was a triumph for the West Australian ceramic
community (and what a wonderful time we all had! ) The social aspects of such an event give potters the
opportunity to leave their studios and catch up on friendships, interact and network w ithin the ceramic
world.
Addressing the issue of whether contemporary tableware is relevant to our modern society's lifestyle
were workshops presenters, Suzy & Nigel Atkins (France), Chris Weaver (New Zealand), Yuichi Kurosawa
(Japan) Morgen Hall (Wales) and Woody Hughes (USA). With such a menu it was a dilemma to decide
w hich w orkshops to choose. Fortunately the committee had foreseen this and provisions were made to
allow the participants to visit other workshops to get a taste of the other 'main courses'. As an 'entree' to
the workshops there were a series of exhibitions held around Perth by various ceramic groups such as
Ceramic Study Group of WA and Perth Studio Potters. There were also ceramic displays in shop windows
in Northbridge by other local pottery groups.
The Dinner Party isn't dead, but handmade tablewares and their makers are fighting hard to avoid
extinction, consensus being that the potter is an endangered species. Morgen Hall told us that in Britain,
the once thriving Stoke on Trent factories are increasingly threatened w ith closure, made imminent by
people's preference for cheaper imported ceramics.
2001 is the International Year of the Volunteer and it is timely to recognise that without the stamina and
enthusiasm of the committees of organisations like the Ceramic Arts Association of Western Australia ,
events of this calibre would never happen, and we would not be privileged to be able to attend or enjoy the
company of ceramic artists of such high regard. The atmosphere of such an event is enhanced by the
amazing efforts of the social committee who organised and prepared lunch every day - even presenting the
menu as a tribute to the nationality of the workshop presenters - French baguette, cock a leekie soup with
a bowl to keep, teriyaki chicken, and hamburgers. This enabled the participants to mingle and relax in the
courtyard. Even the tea and coffee mugs were handmade by the committee.
The Grand Finale of the event was a celebratory dinner party - (well, due to the numbers, a buffet) with
handmade dinner plates - (you guessed it : made by the committee) - lots of wonderful food and some
lovely West Australian w ines from Happs Winery. The workshop presenters and participants were last seen
dancing the light fantastic until the sma ll hours - a good time had by all.
50 POTIERY IN AUSTRALIA - DECEMBER 2001

Suzy & Nigel Atkins' Workshop included several slide shows on their
work at Poterie du Don at Montsalvy in France. Nigel's lectures focused
on marketing contemporary ceramics and he gave an excellent slide
presentation on the high tech gas fired salt glaze kiln at the workshop.
A lively group of salt firing enthusiasts watched Suzy demonstrate
her throwing techniques with a series of functional pots - plain pots
began to come alive with distortion and the addition of textured
decoration and feet and handles. Her tools: a simple collection of cut
up saw blades. Scotchbrites. textured wallpaper and objects for
stamping. Atter the pots were finished they were dipped in a basic
kaolin slip with some areas masked to show the original clay. When dry
a series of slip decoration was applied to the pots making use of
techniques with stencils, latex, wax resist and sgraffito. The only glaze
used was an olive glaze that is applied to the areas where salt cannot
penetrate. Nigel also gave some excellent presentations and lectures on their high tech gas fired salt glaze
kiln as well as marketing and contemporary French ceramics.
Chris Weaver demonstrations gave the impression of a potter who is
totally absorbed in his crah. Forms were carefully thrown, altered, joined
and flattened and a series of components were assembled with extruded
pieces, with attention given to every detail. The use of laminated timber
for handles on some of his serving dishes gives a perfect finishing touch
contrasting beautifully with the copper blue glaze. One striking element is
his hand made tools that are made out of driftwood which he finds on
the beach near his property on the west coast of New Zealand. Most
impressive is a tool that he calls a harp - a cutting wire made in the form
of a bow with twisted guitar wire that gives the leaf design for the bases
of his pots. Chris's work has an architectural quality and he fires in both
an electric kiln and an Olsen fast fire kiln for salt glazed pieces.
Yuichi Kurosawa makes expressive gestural
pots that embrace the Japanese aesthetic. His
loosely thrown textural forms have great
presence making use of spirals and off centre
throwing techniques. Yuichi's throwing is very
fluid - a handle thrown, spiralled and attached to
the pot effortlessly and intuitively like the highly
skilled steps of a dancer. He also gave a
demonstration on tool making. We were all
treated to high drama in the kiln courtyard as
Yuichi donned his layers of protective clothing.
face shield and gloves to attempt some high temperature raku. A request for silence to allow Yuichi to
concentrate saw the crowd standing a safe distance back uSing every available chair or stand to gain a
vantage point. Yuichi opened the gas kiln when it was around 1260 Celsius and removed tea bowls from
the kiln to coolon the brick pavement. Near the end of his workshop Yuichi also held a tea ceremony in the
courtyard using his tea bowls for which there were many takers.
DECEMBER 2001 - POTTERY IN AUSTRALIA 51

Morgen Hall claims to be one of the slowest potters around -
a fact no one could dispute! Morgen's output for the year is
somewhere around 125 pieces yet she works about 12 hours per
day in her studio in Aberystwyth Arts Centre, Wales. The shapes of
her pots are jolly, playful, full of life and comforting yet are the
result of cleverly planned design and attention to detail. Her tools
are a microscope, computer and plotter cutter as well as an array
of bookbinder's tools and gadgets for patterning the clay. Her
mastery is in her turning (or ploughing as she terms it) - each piece
taking hours to finish. When burnished they are ready to have the
stencils applied before an application of slip. Direct design links
between the pot and the food it might be used for are made by the
use of stencils of tea leaves, celery, broccoli, beans and ginger.
Morgen likes to imagine how the pot is going to be used as she
works and is only too delighted to find people actually using her
tea pots or other vessels.
The stencils are made from designs of food as viewed through a microscope or scanned and worked in
Photos hop. The stencils are then cut by the plotter cutter which produces any quantity of sharp precise
edged stencils unachievable by hand cut methods. Further slip trailing of dots or dashes follows wherever a
space can be found. Morgen's pots differ from traditional white tin glaze in the fact that the slip goes under
the glaze and an application of rutile is sponged to create a mottled effect. Morgen is herself a happy
content person with a great sense of humour rewarding the audience for their patience (or to keep them
awake) by frequently passing around bags of lollies - sherbets, fruit bon bons, raspberries and chocolates,
just the sorts of thing you would expect to find in one of her sweet jars.
It was fortunate that a large studio had been chosen for Woody
Hughes - not only were there many enthusiastic participants but on
every visit the workshop became more of a sea of clay. The avid
production of various shaped pots and components covered all
available bench and shelf space ready for assembly. Woody
describes himself as a hand builder who uses the wheel as a tool to
make forms that are altered, darted, distorted and constructed. He
is the exponent of loose throwing letting the clay tell you what to do
although thickness is a conscious consideration. He started the
workshop by demonstrating his daily routine of throwing simple
altered bowls and cups in terracotta clay and the application of
terra sigillata and slips. Some parts were left undecorated to show
the terra cotta clay. It then became the turn of the participants to try
his techniques on the pots he had thrown earlier, generously
allowing them to be taken home. Further demonstrations were of
an altered tray made from a wheel thrown slab that was elongated and of jugs and ewers that were darted
and had thrown components added. Spouts were pulled on a stick and handles attached. All together a
very inspiring three days of techniques and tips that will no doubt influence more than one potter's work in
the future.
52 POTIERY IN AUSTRALIA - DECEMBER 200 1

•
In
exchange
DR PENELOPE COLLET
International Ceramics Festival - Aberystwyth Arts
Centre, Aberystwyth, Wales
The picturesque setting of the Aberystwyth Arts
Centre with its incredible views across the town to
the Bay of Cardigan is an ideal venue for an
international Ceramics Festival. With the Great Hall,
cinema, theatre, galleries, restaurants and bars,
workshops, amphitheatre and grassy outdoor areas,
the building and grounds provided suitable places
for all manner of theoretical discussions, slide and
film shows, talks, demonstrations and exhibitions.
As well, four kiln firings of different kinds were
carried out in the grounds, and marquees provided
shade and shelter for many trade displays and
demonstrations. Inexpensive accommodation is
available in the nearby student village. This year
approximately nine hundred people attended.
Upon reflection, I was able to identify a number
of themes arising from the weekend.
In his introduction Garth Clark, the well known US
gallery owner, critic and author, read from a
pamphlet of an early lecture given by Michael
Cardew. Cardew emphasised the importance of the
amateur in making art, because this is where the
love and enthusiasm lies. For the professional or
accomplished craftsperson, if the production were
to require only the skills of the craft then the
product would be lacking. Love and enthusiasm are
essential components; so all craftspeople need to
retain an element of the amateur in their practice.
Clark was alluding to the important relationship
between the professional crafts people present and
the many more amateurs who, because of their
love of the craft and their enthusiasm to learn, make
the Festival the success it is.
It was my observation that the ceramics industry
in Britain and the US has successfully tapped into a
growing market of early retirees who through
pottery, are seeking to use their free time for
creative fulfilment. The industry's successes have
been gained through effective marketing, of
demonstrations, seminars and festivals.
If we wish, in Australia, to retain and grow what
is left of our studio pottery "industry", we cou ld
learn a lot from the festival here. Pottery has the
capacity to bring together people from a range of
backgrounds, to share ideas, techniques and
traditions and provides opportunities for belonging
to a community of people who value personal,
creative fulfilment and beautiful handmade objects.
Sales of equipment. tools and materials seemed to
be doing well and the exhibition of pottery by the
guest potters was sold out by the first evening.
Another theme was internationalism and the
promotion of cross-cultural understanding through
the shared cultural understandings surrounding the
making of pottery. Fred Olsen, known for his kiln
building and publications on kilns, showed a film of
his experiences as a student in Kyoto, Japan. This
provided insights into the difficulties of a sensitive
young man living and learning a craft in a very
different culture from his own. After travelling to
Australia in the '60s where he did much to promote
the influence of Japanese traditions on Australian
DECEMBER 2001 - POTTERY IN AUSTRALIA 53

Jabu NalCl from Kwa Zulu Natal.
Johannesburg demonstrates
burnishing techniques
Ceramics from the Ardmore Ceramics Studio,
South Africa
pottery, he returned to America where he has been
a kiln master for 30 years. America was also
represented by John Thies with his wood fired two
chamber kiln , Jerry Caplan with his extruded pipe
workshop and Liz Ouackenbush, artist in residence,
in the Arts Centre Ceramics Studio. Her hand built
slipware sculptures also featured in the
"A Snake in the Garden", a concurrent exhibition of
contemporary slipware curated by Michael and
Victoria Eden.
Ceramists from across Europe included Elisabeth
LeRetif from Britanny in France, Christy Keeney
from Ireland, and Jolante Kvastye from Lithuania
who all worked in a sculptural way. Atilla Albert
from Hungary and Svein Narum from Norway made
pots on the wheel. The African ceramists included
Jabu Nala from KwaZulu Natal now in Johannesburg,
and members of the Ardmore Ceramic Studio
from South Africa. Fee Berning and Wonderboy
Nxumalo. In the Ceramics Gallery, an exciting
exhibition of decorated ceramics by Nxumalo
provided a postcolonial narrative on the Anglo-Zulu
hostilities in the late 19th century. Berning spoke
about the importance of Ardmore in providing
employment for women in the region, many left
supporting families through the African pandemic of
HIV Their work in the guest potters' gallery sold
very quickly. The local tradition of children sculpting
small animals has been developed into a very
beautiful, often whimsical, art by the Zulu women
who add them to small pieces of pottery such as
cups, mugs, bowls and eggcups. Brilliant colours
and decorative patterns are applied before a final
clear glaze firing.
Gender difference was another important theme
that emerged over the two days. In Moira
Vincentelli's introduction to her talk with Jabu Nala
about the Nala family of potters from KwaZulu
Natal, she emphasised that by far the greatest
number of potters around the world were women.
These women made pottery as a part of a
traditional way of life and generally used sustainable
and low levels of technology, yet high levels of skill
in eHiciently transforming local materials into a
useful commodity for the home or for sale. It was
my observation that where potters used the more
advanced technologies to make their pots (wheel
thrown and kiln fired) they were generally men. The
exception was Janet Mansfield, the well-known
potter and publisher from Australia, who
demonstrated how large pots could be thrown in
four parts without the need for great masculine
strength, and how by using the forearm to centre
the clay much of the destructive wear and tear
could be taken away from the hands. This seemed
to me an attempt to subvert the masculine
physicality of throwing on the wheel which often is
referred to in terms of its phallic connotations.
There was an approximate ratio of three men to
two women among the guest ceramists. Olsen and
Thies used huge quantities of wood to fire their
kilns producing excessive amounts of lost heat and
54 POTTERY IN AUSTRALIA - DECEMBER 2001

ElIsabeth Le Retlf dCmOnSlr8tes
handbwldlng methods for her large
figurative sculptures
smoke into the environment. Elisabeth LeRetif
however demonstrated a raku firing using clean,
smoke free liquid petroleum gas, firing for only a
brief period of time, within a demountable structure
limited to the size of the sculpture to be fired.
Except for Janet Mansfield, discussed above, the
women made hand built vessels, or sculptures
using slab and modelling techniques. It was
disappointing that Jabu Nala was unable to
demonstrate the traditional bonfiring technique
used by Zulu women. However from the slides and
video shown by Vincentelli, it would appear that
while rather smoky, and carbonisation is required to
give the pots their traditional dense black coloring,
the firings rarely run for more than an hour and use
materials that are readily available and grow back
quickly after being cut for the bonfires.
Another theme, that of innovation, was in
evidence. Amy Houghton created a disconcerting
domestic environment by impregnating textiles and
furs with clay slip before firing. The spatial and
visual textural qualities of the textiles were
transferred to the ceramic forms but the tactile
qualities were quite different. The viewers took part
in the installation, transforming the artwork by
walking on and eventually demolishing the ceramic
carpet - quite a multi-sensory experience, akin I felt
to scrunching through a carpet of autumn leaves.
The second innovation was the paper kiln .
Constructed from thousands of sheets of
newspaper, twisted into cone-like tapers, this
structure relied on a frame of heavy chicken wire
rolled into a series of rings. Pots were placed inside
the rings and the paper tightly woven around the
outside. Then the whole structure was suspended.
The crowd gathered in great anticipation as the kiln
was lit from the underside in the growing darkness.
The swirling winds picked up the smoke as the fire
started to take hold. The paper kiln flickered and
flared for many hours before the fuel was
consumed and the firing was over. Apparently
temperatures of over 1000c can be reached with
such a kiln.
I can understand why this festival goes from
strength to strength. It provides interest and
support for families with a creche and activities for
children over the two days. It encourages the
beginner to develop further skills and interests in
the craft. It is stimulating for students and teachers
of ceramics. It allows for scholarly debate and
critical review of exhibitions. current production and
research in ceramics. The atmosphere is busy and
friendly with many returning to renew
acquaintances from earlier festivals . The careful
organisation and excellent support from the staff
from the Arts Centre, the caterers and University
accommodation all contribute to a well run festival
that I enjoyed immensely.
Or Penny COllet is a lecturer at the Institute of Education
La Trobe UnIVersity. Bendigo.
DECEMBER 2001 - POTTERY 1N AUSTRALlA 55

ANGELA MELLOR
Angela Mellor, Sake Set
(Jug, 5 cups, tray), SItPCi:l5t Bone
China on Black: Porcelain troy'
Jug: h. 23 em, CUp· h. 7 em
tray d 25cm
World Ceramic Exposition Korea 2001
There were three main sites: Kwangju - Ichon - Yoju . Diverse exhibitions such as World Ceramic
Heritages, World Contemporary Ceramics, International Ceramic Design, Korean Contemporary Ceramics
and Hi-Tech Ceramics took place. The aim of the Exposition was to shed light on the past. present and
future of ceramic culture. From Neolithic Age earthenwares to works by contemporary masters, including
Northeast Asian Ceramic Interchanges between Korea, China and Japan, the originators of the World
Ceramic History. It was stated: "Ceramics will come into being again, not only as functional, but also as
artistic and industrial tools. It shows the versatility and infinite possibilities of ceramics and how we can
build our future with earth. Ceramics is a magnificent achievement of our civilisation that enables us to
construct the future."
My main reason for visiting Korea was to attend the 1st World Ceramic Biennale International
Competition 2001 . There were 6000 entries and approximately 300 selected worldwide, five being from
Australia. I feel very honoured to have had two pieces of work selected, one from each category. The
catagories were : 1. Ceramics as Expression 2. Ceramics for use.
The second reason was to attend the various exhibitions from around the world. The lAC members
exhibition coincided with their 39th selection meeting which took place over four days.
I believe it was a very thorough and tough job selecting only 30 people out of 108.There was also an
invitational exhibition of World ceramics from 38 masters, some of whom gave workshops. Potters from
nine countries took part - USA, UK, France, Spain, Norway, Italy, Canada, Japan and Korea.
One of the main events was a three day Ceramic Symposium where distinguished ceramic experts
examined the history and current state of ceramic art in its cultural and aesthetic contexts and explored
how the past and present will affect the future and further development of the earth's potential. Under the
56 POTIERY IN AUSTRALIA - DECEMBER 2001

theme: "To Measure the Unmeasurable", the
Symposium consists of three broad thematic
categories : Aesthetic and Cultural Retrospective, the
Passages of Art and Life, and Applications and
Prospect.
I went along with an organised Ceramic Study Tour
led by Connie Driden, from Victoria. We visited
Kyongbokkung Palace, the New National Museum and
Haegang Museum, which gave an insight into Korean
culture of bygone days. We also took part in a
traditional Korean Tea ceremony. It was a delight to
drink from a beautiful celadon tea bowl and share in
the celebration of this ancient tradition. Studio
potters. pottery villages and workshops were also
visited where we obseNed demonstrations and
videos of the potters at work. Their studios were very
organised and the potters were very skilful in their
techniques. We witnessed the unpacking of climbing
kilns in the hillside. revealing some very creditable
work.
The last three days of the tour were spent in North
Korea. which for me was the most inspirational. We
explored the unspoilt natural beauty of Mt Kumgang.
also known as Diamond Mountain. A four kilometer
walk up the steep mountain was taken in the pouring
rain. seeing the tempestuous waterfalls. gigantic
rocks and a wonderful array of Autumn leaves. It was
well worth the climb.
The following day took us to a place where Mt
Kumgang meets the sea and where many unusual
rocks w ere seen. some displaying large calligraphic
sculptures caNed into them by a commissioned
sculptor, This was called Lake Samilpo. the most
beautiful tranquil lake and scenery that I have ever
seen. It is one of the most unpolluted tourist
attractions left on the planet.
I must say that I was very impressed with Korea.
It is a very clean and orderly country. The new airport
in Incheon is ultra modern and space age in its
design. The eight lane highway eased the flow of
traffic into the vibrant capital city. Seoul. with its
towering modernistic architecture. The countryside is
breathtakingly beautiful and the people are warm and
friendly. A very worthwhile and inspirational trip.
Pa~sage of Time. Bone ChIna on Ouanz,
h 28 5t:m and 20 5cm
Photos ' Victor France
DECEMBER 2001 POnERY IN AUSTRALIA 57

•
LYN HAVILAH
Early stages of firing the fjve-chamber kiln
of Urn, Hang Talk. Master Potter
The kiln finng area housing the two climbing
kilns of Lim. Hang Talk
World Ceramic Exposition, lehon, Korea 2001
I have worked in the field of ceramics for many years, a happy blend of production throwing, my own
business and teaching. When I discovered that the World Ceramic Exposition was to be held in South
Korea, I felt I could not let the opportunity pass of seeing the best of the worlds ceramics all in one place.
I visited the three month long Exposition for four full days at the end of the first month, August 2001 .
The prior information I had obtained on the Exposition in no way prepared me for its enormity. The scale
and the effort by the people of South Korea to showcase their ancient heritage, was as great as the pride
they exuded. Through my studies of Asian ceramics, I was familiar with and was delighted to see the
beautiful Onggi earthenware, the patterned and carved slip inlaid celadon, and the superb brush-worked
porcelain vessels of Korea. There were three major exhibition sites situated in a huge, wide, flat river valley
surrounded by mountains. The valley has a ceramic tradition that is 10,000 years old. Relics excavated at
Ichon show that ceramics have been created here since the Neolithic Age. Onggi earthenware found at the
ancient sites is still produced today. Currently there are over 700 potting families working there carrying on
their heritage of design and techniques
Thirteen major exhibitions under the main categories: World Contemporary, Korean, and The Historic
Representation of Interchange Between Korea, Japan and China were distributed between the three sites.
I was fortunate to be guided through the seven major contemporary exhibitions at the Ichon site by the
Curator, Jason Tan who naturally had intimate knowledge of the individual pieces of work and their
presentation. He had supervised their unpacking and display. The main competitive exhibition was the 1st
World Ceramic Biennale, which attracted 4,106 entries from 69 countries.
58 POITERY IN AUSTRALIA - DECEMBER 2001

One of the 700 potters of !chon in her
sales are(l al the Exposition
Sensationally, Nigerian Lawson Oyekan won the
Grand Prize with a monumental work in vitreous
terra cotta, 210 cm high, titled "Healing Being" an
organic form that hinted at the architecture of his
homeland.
The Gold Prizes for the Biennale were:
Yong-Phill LEE from Korea - a group of high fired
white, slip cast porcelain titled "Winter Still Life"
Ken EASTMAN, U.K. for his white stoneware.
coloured engobe, slab built piece titled "All the
Things" 48 x 50 x 55 cm of strong angles, soft
curves and subtle colour.
The four Silver Prizes were:
A contemporary Onggi wheel thrown
"Finger Paint" vessel by Sang-Ki KIM - Korea.
A full porcelain/plaster moulded setting of "Living
ware" in cobalt precise inlay line-work and handpainting
by Masatoshi SAKAEGI - Japan.
A group of large porcelain, stoneware cast
sculptural pieces titled 'All equal - All different"
10 pieces 80x30x40cm by Philippe BARDE,
Switzerland
A 90x30x90cm Stoneware, soft slab,
sandblasted, Anagama fired sculptural piece by
Torbjorn KVASBO, Norway.
There were 32 Australian applicants who made
60 entries. Six entries were selected for exhibition.
The selected works were by: Greg Daly,
Carol Foster, Ljubov Seidl, Roswitha Wulff, Julie
Bartholomew and Gudrun Klix. Major museums
and private collectors from all around the world
provided pieces for the feature exhibition -
"Northeast Asian Ceramic Interchange - Korea -
China - Japan".
Because of the close geographic and cultural
connections of these countries, this exhibition
showed the influences they had on each other and
placed their historic artistic identities into
perspective .The highlight of this exhibition was the
display of the beautiful contemporary works of the
Master potters of the three countries. Ceramic
construction was demonstrated at the "International
Ceramic Workshop" where world-renowned
ceramists which included Peter Voulkos and Jun
Kaneko invited visitors to take part in the event.
All the village potters of the area were offered the
opportunity for their own outlet at any of the three
Exposition sites: Ichon, Yoju or Kwangju. The
individual displays by these potters were
exhilarating and the joy and pride of the people as
they stood in their booths and encouraged interest
was infectious. When I asked one exhibitor could
I take a photograph of her with her pots, she
immediately left and returned five minutes later in
traditional Korean dress to clearly establish her
identity.
The culmination of my Korean experience came
on the evening of my last day when I was
introduced to Lim, Hang Taik, the region's Master
Potter. He was finishing the brushwork on the last
of his white glazed, porcelain vessels prior to filling
the kiln. The vessels were packed into one of the
two, huge, five chamber-climbing kilns and sealed
ready for firing. Lim, Hang Taik invited me to take
part in the "Ci Ru Duk" ceremony which included
the blessing of the kiln, the wish for a "good firing"
and the serving of a traditional Korean meal
prepared by his family.
I wish to acknowledge the assistance and
kindness of my dear Korean friend Young Ja Park
and Curator. Jason Tan in making sure I experienced
all that the World Ceramic Exposition had to offer.
Lvn Havilah Ti ndalah Pottery Berry NSW 2535
Photos: Lyn Havi!ah
DECEMBER 200 1 - POTTERY IN AUSTRALIA 59

Perc Tucker Award
The North Queensland Potters Association has been a vibrant and creative ceramic centre for Townsville
and the surrounding region since 1973. For many years its flagship has been the annual Ceramic
Competition and this is now held in the Perc Tucker Regional Gallery in Townsville.
The Perc Tucker Reg ional Gallery is committed to developing the art and craft practitioners in its region.
The NQPA Awards are viewed as a vehicle to achieve this by encouraging members to develop their
practice through exhibition, and by bringing to Townsville works by nationally exhibiting artists. A high
profile ceramic artist is chosen to judge and this contributes to the cross fertilisation of ideas.
The Gallery collects ceramics and has a burgeoning collection of contemporary Australian works added
to by the Townsville City Council acquisitive award in the Ceramic Competition. Within the Gallery there are
five discrete exhibition spaces, three of which are small scale and suitable for solo exhibitions. Potters are
encouraged to exhibit in these spaces and the membership has been relatively active in exhibiting. The
Gallery and the NQPA are also partners in an airport display case which promotes the work of North
Queensland craftspeople.
This year Michael Keighery judged the competition, with a range of local entries as well as work from
around Australia. The Townsville City Council Award of $2000 was won by Stephen Bowers and the BHP
Cannington Award of $2000 was awarded to Jeff Mincham. Other awards went to Kaye Pemberton, Len
Cook, Carol Forster, Amanda Shelsher, Alan Peascod and Bryce Manning. To allow greater time to organise
the competition the next one will be held in the Gallery in 2003. It will in the future be a biennial
competition.
Wendy Bainbridge
Photos: courtesy of North Queensland Newspaper Co Ltd
Aman da Shelsher. 'GreatE!:icape, Bust with Cities',
handbuilt, SIoneware, glaze, stains h 57cm
Len Cook, 'Mururoa Mutation', Senes 2. Porcelain, h_30cm
60 POTTERY IN AUSTRALIA - DECEMBER 2001

Sydney Teapot Show 2001
This year's Sydney Teapot Show proved that
superstitions about the number thirteen are
definitely groundless. The 13th Teapot Show held at
the Inner City Clayworkers Gallery during August
invited claywrights to explore the possibilities of the
Rights, Rites and Writes of Tea. This year's show
saw many innovative interpretations of the theme
and an increase in the number of overseas
participants. Sixty potters exhibited a total of 129
teapots. The prizewinners this year were:
The Keane Ceramics Award for "The Rites of Tea":
Keith Yeo, NSW
"Imperial Dragon Tea". a beautifully detailed pot based
on the imperial design of the Han Dynasty and finished
with gorgeous imperial yellow.
The de Marchi Tea Award for "The Rights of Tea":
Janette Loughrey, NSW. "Carnival", a generous colourful
pot which poured perfectly.
The People's Choice Award was won convincingly by
Anya Bachimova, NSW for her "Mother of the Teapot"
series of Russian dolls.
The Gleebooks Award for "The Writes of Tea" (Dead Heat)
Lena Kuhl Jakobsen, VIC
'Are Sea Urchins Messengers from the Sea", a gentle pot
inspired by a sea urchin and with the title question written
in Braille on the lid
and
Janette Burford, NSW
"We of the Never Never", the title of Aeneas Gunn's
story used in a novel way to make political comment on
a well-remembered statement by little Johnnie.
As always the end of the Teapot Show means the start of
planning for the next year. Applicants are invited to contact
the Teapot Show Committee with possible entries for 2002.
Ellen Westcott
Photography by Vicki Grima
DECEMBER 2001 - POITERY IN AUSTRALIA 61

JUDITH ROBERTS
Jane Sawyer 'Fluid serles' 2001
terracotla clilY, white slip
Photo: Terence Bogue
Victorian Ceramic Group TabLeware Award
Thirty one Potters took part in the Victorian Ceramic Group members exhibition which was held at
Artistcare Gallery South Melbourne from October 10 to 22 incorporating the H. R. Hughan Award for
functional ceramics and the Stonehouse Potters Award for tableware.A diverse range of functional
ceramics made for a stimulating exhibition and a challenge for the judge, Neville French, a ceramist and
lecturer from Ballarat TAFE .
Amongst the work on show at CLADER were satin glazed stoneware vessels with rhyth mic sgrafitto
decoration by Lene Kuhl Jakobsen; elegant. pale green glazed lidded bottles and teapot by Jan Barnes;
vigorously constructed and decorated hand-built platters by Judy Armstrong and delicate decal decorated
coffee sets and plate by Sandra Bowkett. Alistair Whyte's work comprised formal blue and white porcelain
vases and side plates. Sue McCormick produced cheerfully decorated cake serving plates and nacho
dishes. A touch of whimsy was brought to the show by Marg Hornbuckle's vegie dish, strawberry bowl and
mugs along with Anne-Marie Gentile's brightly coloured extraordinary candelsticks.
Neville was meticulous in his assessment of the work, spending over four hours deliberating on all the
pieces. At the opening he stressed, in his remarks about functional cerarnics, the importance of handling
the work and spending time contemplating all aspects of each body of work. Pots are a reflection of the
maker - a fusion of personality and culture with materials and processes. Work of the highest quality
achieves a truth and beauty through the development of knowledge and skills and a criterion of aesthetic
values derived from tradition and innovation. It requires sincerity and commitment.
The work he chose for the H. R. Hughan Award was the anagama fired platter by Graeme Wilkie which
he described as masterful work clearly exhibiting the confident touch and intimate knowledge and empathy
with the anagama firing process that only comes with considerable experience and struggle. Neville
emphasised the importance of the comfortable relationship of form to surface treatment and felt that
Graeme's Platter invited exploration by touch and eye. When investigated the surface texture made subtle
changes and revealed the shallow finger depressions in the applied slip, which were enhanced in the firing.
"I believe the individual artist potter making tableware today requires an awareness
of the context in which these pots sit and requires sophisticated judgement of form,
texture, weight. balance, decoration and glaze to bring vitality to the work that is
unique. This aesthetic judgement and discernment is hard earned and is only
acquired through practise and experience."
62 POTTERY IN AUSTRALlA - DECEMBER 2001

In discussing Jane Sawyer's Fluid series: Jug & Container,
the winner of the Stonehouse Award for tableware, Neville
took us on a journey of aesthetic appreciation, through a
sensory exploration of the Jug. He drew our attention to the
nature of the foot which had been cut rather than turned,
adjacent to the thrown side and further up the pot the change
of texture to smooth glaze over apparently wet slip marked
sparingly with finger touches, culminating in the altered rim,
lightly stained with green here and there. It was through his
very clear eloquent description that our responses to Jane's
complex work were enriched.
Neville chose to give a Merit Award to Elizabeth Low for
her porcelain jug and two beakers which he felt were well
resolved pieces, softly potted and delicate showing the
assurance of a restrained hand in making subtle dints and
strokes in the soft clay. These marks created a sense of
gentle movement in the pieces and the forms themselves
were comfortable to hold and use.ln discussion with the
artists at the opening it was clear they were excited at having
the aesthetics of their work so clearly and generously
expressed by the judge.
"This exhibition (presented) an opportunity for us to
celebrate the way that pots can enrich our lives, through the
creative activity of making, the sharing and exchange of ideas
and in the ways hand-crafted pots can function in our daily
lives. These pots can take on special meaning and purpose
and when handled they can excite, comfort, calm or surprise -
they can engage us and contribute to our sense of well being
and they can help make our daily rituals extraordinary."
Top
Liz Low Jug and beakers'
porcelain. h.18cm
Photo: Terence Bogue
Boltom"
Graeme Wi lkIe
'Anagama fired platter'
d. 45 em
The H. R. Hughan Award of $500 was given to Graeme
Wilkie for his Anagama fired Platter
The Stonehouse Potters Award of $250 went to Jane
Sawyer for her Fluid Series: Jug & Container
Liz Low received a Merit Award for her Porcelain jug and two
beakers
Quotes by Neville French
DECEMBER 2001 - POTIERY IN AUSTRALIA 63

JULIE
BOSANQUET
Len Cook., MUfuroa Mutation,
Cairns City CouncIl award
Cairns Potter's Club Biennial Exhibition
The Cairns Potter's Club sixth biennial national
competition, Melting Pot 2001, attracted over 82
entries from around the country, offering over
$6,000 in prize money. The event. which was
promoted through 'Pottery in Australia', was
exhibited at Cairns Regional Gallery, Queensland's
largest regional gallery, during September and
October and was judged by Master Potter from
Victoria, Ted Secombe. President of the Cairns
Potters Club, Lone White, said the event provided
ceramic artists with the opportunity explore the
more creative aspect of their artworks, a fact that
was evident during judging. "What has been
pleasing to see in Melting Pot has been a genuine
attempt at artistic self-expression," Judge Ted
Secombe said.
"The exhibition has, I feel, succeeded in the
promotion of the art form in North Queensland
in a positive way, opening the eyes to many
possibilities of the medium," he said.
The award component of the exhibition was
divided into eight 'open' categories allowing for the
diversity of the artworks featured in Melting Pot
2001, to be compared with each other in their
individual artistic merit. Indeed the very range of
ceramic pieces featured in Melting Pot 2001 is
indicative of the fact that contributing artists
embraced the theme of this year's competition,
which as surmised by Ms White was to, 'break out
and go wild'.
Secombe judged Len Cook's piece, Mururoa
Mutation as the major award winner of the
exhibition , the Townsville artist collecting the Cairns
City Council Award. "Mururoa Mutation is evocative
and challenging and succeeds in drawing the
viewers in for a closer inspection," Secombe said.
"It stimulates both on a visual and intellectual level
... it is a contemplative work, cleverly executed by
an artist of maturity and great skill."
Cairns Potters Club President. Lone White, was
awarded the second highest achievement with her
work, Out of Wonderland, which received the
Cairns Port Authority Award. Secombe, who is
recognised as a classical ceramist specialising in
crystalline glazework, said White's Out of
Wonderland represented something new in the
Australian scene of ceramic glaze expression.
"It is a glaze treatment I have not seen before,
which would stimulate the most learned of glaze
chemists," he said, "The artist has resisted the
64 POnERY IN AUSTRALIA - DECEMBER 2001

Top
Gloria Croft. Unlit led, Collins
Booksellers (SmithfIeld) Award
Center·
Wendy Handley, 'Reflections of UghI'
Ron Ireland Award
overuse of the sparkle element of the glaze, but gave
enough to make one want more."
Other award winners from Melting Pot 2001 were Rick
and Leonie Wood of Mackay with their work In the Arms
of Morpheus, which collected the Warren Entsch MP
M.H.R Award and Wendy Handley of Cairns who
collected the Ron Ireland Award with her piece,
Reflections of Light. Jacqueline Waters, also of Cairns,
won the J.T Sandison & Co Award with Rockers of
Yesterday, while the Calanna Pharmacy Award was given
to Jennifer Valmadre with her work, Shadows of Fear,
Carol Lomax won the Northcote Pottery Award with Two
Bowls, and Gloria Crofts, a Cairns artist, won the Collins
Booksellers Award with Untitled.
The Cairns Potters Club was established in 1984, and
today boasts over 100 members who are located across
the Far North Oueensland region. Members travel from
Cooktown, the Atherton Tablelands and nearby Mission
Beach to attend biannual workshops, which are held in
Cairns and hosted by national and international ceramic
artists. Cairns Regional Gallery, which was established in
1995, has been the preferred venue for the biennial
Potters Club exhibition for the past several years.
Melting Pot 2001 was on show at the Gallery between
September 14 and October 14.
Lone Whrte 'Out of Wonderland',
Cairns Port Authority Award
DECEM BER 200 1 - POTTERY IN AUSTRALIA 65

JAN BARNES &
JUDITH ROBERTS
KIrk Winter Horned Owl, Anagama fired
The 2001 Pat Emery Award for outstanding work
by an emerging potter from the membership of the
Victorian Ceramic Group, was held this year as a
stand alone exhibition at the Kiln Gallery Northcote
Pottery, Formerly the award was contained within
the annual survey exhibition of members work, The
Potters Showcase. A record 36 eligible exhibitors
took part, including 12 new VCG members.
There were a number of new initiatives this year
including a small display about Pat Emery w ho was
a founding member of the VCG some 30 years ago.
An ':Award" certificate was produced for the first
time this year to be handed out to the winner along
with the cheque; also an "Honorable Mention"
certificate was available to be used as the judge
chose, to recognise the work of those potters
showing particular strengths in their work, The
exhibition was judged by Chris Headley, head of
Monash University's Ceramics Department and
opened by Colin Clark, Lecturer in Ceramics at
Chisholm TAFE Dandenong.
The Award was won by Kirk Winter for his
gloriously fla shed wood-fired works: a powerful
platter, 'Horned Owl' vessel and small bowl. The
judge saw fit to award a staggering six "Honorable
Mentions" to participating potters, Judy Armstrong,
Rebekah Barnard, Katrin Chittams, Michelle
Galasso, Diane Kirk and Marita Knutsen,
commenting on the high standard and diversity of
entries. These additional awards provided quite a
boost to those not receiving the primary award and
were a testament to the exciting potential of our
66 POTIERY IN AUSTRALIA - DECEMBER 2001

Top
Rebecca Barnard
Bottom
MIchelle Galasso
'The Beginning',
h29cm
members. This was certainly in the spirit of
encouragement initiated by Pat Emery and we feel
confident that she would heve delighted in their
successes
Chris Headley:
'Judging an exhibition has to be one of the
hardest jobs there is. This year's Pat Emery Award
is no exception. How does one choose a 'winner'
out of such a breadth and depth of ceramics?
Some works make reference to the richness of
the ceramic history. Some celebrate the joy of
working with the material, clay itself. Some show
skill and mastery over the process of making and
the material used. Others demonstrate a
professional approach that suggests a successful
career ahead. From conceptual works which take on
the formal concerns of the purely sculptural to pots
which enjoy being seen as functional objects to be
used - simply pots ... I have to say I am very
impressed indeed!
There can only be one winner of course. I would
like to give a prize to everyone involved to
encourage the artists to work and aspire. The highly
commended works stand out because they
encompass one or a number of these qualities at
the same time. The work of the Award winner,
Kirk Winter, stands out from the rest with its skill.
knowledge and obvious understanding of all of
these ceramic properties and qualities: Quiet but
very confident. Well done everyone partiCipating
and good luck with all your ceramics in the future."
Victorian Ceramic Group Award Exhibition
Kiln Gallery, Northcote Pottery. 85A Clyde St Thornbury Victoria
DECEMBER 2001 - PQTIERY IN AUSTRALIA 67

LONE WHITE
Journey to Georgia
Genadl with his
pnze winning pots
from the
Symposium
Georgia is a republic bordering the eastern side of the Black Sea it has been independent from Russia
since 1991. The country has a very long and rich history of ceramics. Last year ( 2000) I visited Georgia for
one week only, but during that time became so impressed with the traditional and contemporary ceramics
and the hospitality of the potters, that I had to come back.
I kept in contact with some of the master potters and this year, received an official invitation from the
Union of Georgian Artists to visit them to familiarise myself with Georgian art and ceramics. So in May this
year, with four friends, I ventured back to a feast of art, people, nature, food and wine.
Genadi Bersenadze, a Master Potter living in the capital Tbilisi co-ordinated our 10 days visit and invited
us to his studio on the top floor of a ten story building - part of a large housing complex - where the lifts
rarely work (electricity is very temperamental in Georgia). In the studio he has built two 20 cubic feet
electric kilns. How he managed to get the materials to build the kiln up all those floors is amazing.
When he was 16 years old Genadi was studying sport but after seeing a film on pottery decided to enrol
in a three year course in ceramics (mostly throwing with a kick wheel). Afterwards he was accepted at the
Tbilisi State Academy of Fine Art where he continued for five years specialising in ceramics and since
graduating has not stopped working with clay a total of 32 years. Last year the Georgian Government,
through the Union of Georgian Artists, organised a competition for potters from all over Georgia. The
judges selected seven women and six men to participate in "Georgian Symposium 2000". Genadi was one
of the ceramists selected.
The thirteen potters were all taken to a large room in the building from where the Union of Georgian
Artists operate. The Georgian Government has allowed the Union the use of a very big multi storied old
building in the centre of Tbilisi for administration, studios, displays and workshops. With closed doors and a
judge always in attendance, the artists were each provided with a bag of 30 kg of clay and asked to
WorkS by Olar, leh to right, 'Vasa with Angels'. 'Tea for Two', 'Horse'
68 POTIERY IN AUSTRALIA - DECEMBER 2001

Four professors from the Academy, Presidern of the Union of Artists,
Genadi and Lone White
George wtth his wood fired k.iln
produce their masterpieces using all the clay within
a 30 day period. Genadi told me that he did nothing
during the initial 14 days. Then he got started
working on his composition using the 30 kg of clay,
but he struck trouble with the fluctuating electricity
supply. It took one whole week for his work to
reach temperature. After the 30 days, all the artists
had to exhibit their work for the judges. Genadi took
out first prize! What a dedication to ceramics!
I visited the Tbilisi State Academy of Fine Art,
where a course in 'Artistic Ceramics" takes five
years. I gave a two hour presentation and slide
show on recent developments in Australian
Contemporary Ceramics. Ceramic magazines are
not readily available in Georgia and they were
extremely surprised with the diversity of work
produced here in Australia.
The Academy itself is housed in a large building,
many of the rooms are artworks in themselves with
beautiful decorated walls and ceilings, but
unfortunately there is no money for building
maintenance and it is deteriorating. The Academy
has a research centre, a museum which contains
works from previous students and an exhibition hall.
Otar Vepkhvadze is another potter I am very
impressed with. He and his wife la live in Tbilisi and
their home is full of lovely artworks. Otar graduated
from the Art Academy in 1975 and his works are
interesting but reflect a different generation.
Apart from the influence from Georgian culture his
work has also taken in aspects from travelling
abroad as Art teacher in Arizona USA in 1991.
Leaving Tbilisi I visited the Tatulashvila family in
Gori (birthplace of Stalin and approx 80 km
northwest of Tbilisi). The family has a 200 year
tradition in pottery making, but only two family
members continue to work in clay. Omar, a Master
Potter, now retired from teaching ceramics at Tbilisi
Academy of Fine Art and George, who is also Chief
Housing Inspector in Gori. Their father was a
famous potter and his sons were taught the family
tradition of making and firing pots.
Their smoke-stained and black polished pottery
following age old traditional Georgian techniques -
revived in 1959 - is the highlight of contemporary
Georgian pottery with a niche in today's ceramic
development. The clay used is a local claybody that
matures at approx 900 degree C. When leatherhard
it is carefully polished until perfectly smooth. Then it
is fired to 800c. After glazing the vessels are
returned to the kiln for a second smoking-staining
firing. At 900c the glaze is fully fused and the
temperature is lowered to approx 620-630c and
wood or resin is fed into the kiln to ensure a
profuse and prolonged emission of smoke. What
wonderful pottery pieces are produced in this way!
To sum it all up, Georgian ceramics is different to
what I have seen in other countries. It is very
exciting. My future ambition is to encourage and
organise an interaction between our two countries.
Most of alii was overwhelmed by the great
hospitality of the people combined with their
strength of mind. Despite their country's depressed
economic situation they have kept their spirit high
and still create artwork of high standard and
integrity reflecting continuing cultural values.
DECE MBER 200 1 - POTIERY IN AUSTRALIA 69

RUTH PARK
Ruth Parle
'Am I thin enough yet".
bronze gla2e, h: 1 m
Creative Centre in Central West, NSW
An abandoned engine room which once powered an old wool scouring plant has become the centre of
a rich artistic life for area residents. The historical double - storey red brick building had followed the
fortunes of the wool industry and had been left abandoned. However in more recent years it was sold &
converted into a gallery, by proprietors Paul & Jenny Ivers. where it has become a flourishing outlet for
local work. Open now for four years The Clay Pan was quick to start winning recognition with a Regional
Heritage Award for its adaptive reuse of an old building and was a finalist in the local Chamber of
Commerce's Golden Rhino awards.
The Clay Pan Gallery has now become a centre for the work of painters, jewellers, & textile artists alike,
as well as the collaborative base for the Western Potters Group. Meetings are held in the working studio,
and members work exhibited and sold in the gallery itself. Members staff the gallery for a reduced
commission on sold work. It has also become the venue for visiting artist workshops and houses an artist
in residence, local ceramic sculptor Ruth Park.
Other exhibiting potters include Sharon Skelly whose delicatley perforated forms are a familiar feature at
the Australian Craftshow. Linda Ewin from Dunedoo and Geoff Thomas from Gilgandra, both members of
the Rangoon Wood firers. Geoff Thomas's work is anagama fired domestic pots that vary in size and
function. Joy Kirby and Marianne Balhausen from Narromine are reularly featured as well with a range of
domestic ware that is both wood and gas fired. It is a desire of both Jenny & Paul to promote local work
which sees them play such an active role in supporting local artists like Ruth. Exhibits are drawn from as
far afield as Coonabarabran, Molong Tottenham, Dunedoo and Orange and visitors drawn to the area
seem appreciative to find local work on show.
The Clay Pan Gallery is open 10 am - 4 pm daily at 21 Dept Road Dubbo. Telephone 02 68851251
Photography by Steve Thomas
70 POTTERY IN AUSTRAliA - JUNE 2001

opportunity
JOHANNA DEMAINE
The Winston Churchill
Memorial Trust
This year I had the opportunity to spend 14 weeks travelling through Europe and the United Kingdom
totally focusing on ceramics and art.
I was fortunate to be selected as one of the Churchill Fellows for 2001 and was able to undertake a 10
week study in the area of hand painted decoration of porcelain and ceramics focusing on health and safety
and the working methods subsequently adopted in industry. The Fellowship provided travel and living
expenses for that period of time. I was then able to extend this another four weeks at my own expense to
make the most of being overseas. With this opportunity comes the responsibility on my part of
disseminating the information I was able to obtain as well as being an ambassador for the Churchill Trust.
Since my return I have been concerned that not many ceramists/potters/artists know about the
opportunities that are available for overseas study for everybody to access.
The Churchill Trust is an Australian Trust that was established in 1965 to perpetuate and honour the
memory of Sir Winston Churchill by the award of Memorial Fellowships known as Churchill Fellowships.
To date over 2500 Churchill Fellowships have been awarded to ordinary Australians from all walks of life to
study or undertake an investigative project overseas. As with any grant or fellowship there are certain
criteria that have to be met. Firstly the project has to be of a kind that would not be readily available within
Australia (in my case Australia does not have a large-scale ceramics industry). However there are no
prescribed academic or other qualifications required. Rather merit innovation. resourcefulness, motivation,
determination both to succeed and share the knowledge gained, all characterise Churchill Fellows.
The process of application and selection is not onerous because the Trust as well as other Churchill
Fellows give assistance. Over the years fellowships within the area of ceramics have been awarded to Les
Blakeborough, Vic Greenaway, Georgina Elms, Ian Jones and Fay Good. The opportunities that are available
are limitless. So if you have "the light in your eyes and fire in your belly" go for it and apply. I would be
more than happy to help. I can be contacted at johanna@demaine.org.
Applications are open until the 28 February 2002. Forms and further information can be obtained from the
Internet at http://Www.churchilltrust.org.au as well as direct from:
The Winston Churchill Memorial Trust
Churchill House
30 Balmain Crescent
ACTON ACT 2601
Tel: 0262478333 or freecall1800 777 231
Email : churchilltrust@bigpond.com
DECEMBER 2001 - POTIERY IN AUSTRALIA 11

•
VAL NICHOLS
'Detail', texture, colour and surface. soda fired by Val Nichols
Confronting the work - Confronting self
Having being asked to open an exhibition for Claydown Tasmania at Artifakt Gallery in Deloraine earlier
this year, I found myself reflecting on the way in which I approached the work of other makers. An
exhibition might be considered a punctuation mark in an artist's career, a mark that signifies the end of an
intense period of working and heralds an opportunity for a breath, a pause. a time for rest and reflection
before work resumes.
Wine, cheese and gossip often lull guests at an opening into a passive experience of the work on show.
Opening speeches that dwell on the artists' intent sometimes absolve an audience from unravelling the
secrets embedded in the work and rob them of their own potential for dreaming and discovery. Similarly,
potted artistic histories often paint an unrealistically logical and orderly progression of a career without
reference to the troughs that are invariably part and parcel of a creative life. Makers in an audience can start
to doubt their own more chaotic and tumultuous story, bringing them to ask, what am I doing wrong?
Subtly the notion that art making is something for others is reinforced.
I wanted to make an opening speech that gave my audience more to work with as they considered the
work before them, something that might extend their engagement with what they were encountering.
I knew that if I were to be honest in my presentation for this particular exhibition opening I had to deal with
some particular challenges. I was familiar with and responded warmly to much of the work but I had to
acknowledge that at a previous exhibition in Perth a few years before, that included work by some of the
same exhibitors, I had experienced some strong negative reactions. I was concerned about this and took it
as a call for reflection and introspection.
Following are some personal thoughts arising from the two exhibitions that I expressed in my opening
talk, which some of those present later encouraged me to put to paper.
My thinking was revolving around the potters involved in the Claydown Tasmania tutors exhibition. I was
familiar with and drawn to some of Neil Hoffmann's primordial sculptural forms, and was confident from
magazine photographs that I would enjoy Jane Annois' use of the vessel form to evoke whisperings of
72 POITERY IN AUSTRALIA - DECEMBER 2001

itual, secrecy and containment. I enjoy these
values and seek them in my own work. But I was
anxious about two of the other artists' work, that of
Dennis and Malina Monks. The work of theirs I'd
previously seen in Perth had stirred a strong
negative response in me. I'd previously watched
Malina demonstrate throwing and was totally
seduced by the ease and comfort that oozed from
her body as she sang her pots into being. I had
expected soft voluptuous CUNes, domestic ware or
overt female imagery. But what I saw were coils,
geometry, and precision. I was terribly disappointed,
I felt duped! Recognising that this was not the most
positive attitude with which to approach the work in
this Claydown exhibition (for which she employed
some of the same methods) I delved deeper. What
was it that was preventing me from seeing the
work? Why does geometry and precision annoy
me7 The answer came back. "You've pigeon holed
the maker". I had a rigid expectation that was not
met, and was reluctant to shift my expectations to
gain focus on what else the maker could offer me,
I immediately recognized that this was
embarrassingly similar to the rigid expectations
I had attached to my own making of soda fired
work, when I had been busy with fruitless
comparisons with other makers instead of
journeying inwards to a fuller expressions of who
lam.
The second artist, Dennis, presented a bigger
problem. In Perth I had dismissed his work very
quiCkly, My memory of his work there was of
geometric triangles stuck together angular,
functionless. Definitely not my cup of tea, nothing
like what I make or aspire to. But why did that work
make me so cross? Asked by the head, the heart
shouted back. Because he doesn't care if you like it
or not, he is involved in issues that he wants to
resolve for himself. If you want to know what they
are you'll have to work a little harder! How dare he
be that confident in himselfl In the Claydown
exhibition Dennis showed entirely different work.
Again I had to readjust. How dare he blatantly work
to resolve the issues that currently drive him and
not care about my earlier attempt to re-orientate
myself for his work! Why so cross then? I believe
that at some deep level I was jealous! Oh how I
wanted to be like that. unburdened by shoulds and
oughts. Moving away from notions of passJfail,
goodibad, tick or cross I took myself towards a
more liberated, more open response that asked
What does this evoke for me, what is the work
saying, what can I learn from this? I bought one of
Dennis' pieces in the exhibition, a black bowl, not
the one I liked first or most readily felt comfortable
with but the one that dared me, egged me on, the
one that said to me, go on, be brave, discover your
own way and follow it. I hypothesised that the pots
we resonate most easily with are the ones that
reflect back where we are with our own work or
where we want to go. I considered the possibility
that the pots that most confront us or at first appeal
to us least, tell us something of what we need to
learn in order to progress.
Three particular lessons came to me. Firstly,
de-blinker my vision and stay open to discovering
something of the journeying of others. Secondly,
paying attention to detail is not necessarily analretentive
behaviour. Thirdly, and most importantly,
be brave, be bold and follow the path that's true to
self. I encourage anyone viewing an exhibition to
linger longer than the time it takes to drink the wine
and eat the cheese. Delight in the work that draws
you and listen to the pieces that challenge.
Enjoy yourself, drop your guard and let the work
speak
Val Nichols IS a Hobart based ceram Ist and writer.
DECEMBER 200 1 - POnERY IN AUSTRALIA 73

On a very gusty August Sunday the Potters'
Society of Australia's firing day was held in
conjunction with Hot and Sticky at Steve
Harrison and Janine King's pottery at Balmoral in
the Southern Highlands in NSW
60 people attended the day firing around 600
pots in a variety of fast firing wood and gas kilns ,
Clockwise from top left:
Lyn Ward from Gymea TAFE braves the
flames on the firing pit.
Liam Hales, Potters' Society treasurer rakes
coals and readies the pit for the second load ,
Marian Howell builds the fire gradually.
Burnished pots being removed from
the paper kiln firing.
74 POITERY IN AUSTRALIA - DECEMBER 200 1

Clockwise from top
Stoking one of the woodblock kilns. The kiln was
constructed from small offcuts of wood built
around the burnished pots. The blocks were
then covered with newspaper coated with slip and
a small fire started. The kiln itself burns away.
The tube kiln. simply a fibre tube with a lid was
suitable for firing one or two glazed pots at once.
Steve Harrison and Sue Buckle place the specially
constructed fibre kiln over the group sculpture
which was built. fired. decorated. glazed and fired
again all on the one day.
Nicole Lister and Steve Harrison at the boot kiln
which is full of Raku pots.
DECEMBER 2001 - POnERY IN AUSTRALIA 75

Wood Firing Journeys
and Techniques
A Collection of Articles from Ceramics Monthly
with a forward by Dick Lehman
Published by The American Ceramic Society, 2001
';4 compendium of life, Fire, Wood. & Clay or 'It's not about fish, it's about fishing' " - Cath O'Gorman
Wood Firing, Journeys and Techniques is an
appropriate title for this compilation of stories,
essays, dialogues, scenarios and philosophies by
contemporary practising wood firing artists, The
esoteric yet pragmatic nature of the content will
appeal to a broad audience. The book contains a
wealth of information, ideas and excellent coloured
images, large and often one to a page (reminiscent
of the Jack Troy bible). The bibliography is
extensive, and unconventionally, in the front of the
book, and the Introduction by Jack Lehman is
sincerely poignant and poetical, and it gets you
wondering.
This large (21X28cm) friendly, soft covered but
none the less glossy book has recently been
published by American Ceramics Society's
Ceramics Monthly which has been in circulation for
since its establishment in 1898. There are 24
articles by practising artists, mostly American in
origin, with some Japanese, Japanese/Americans,
and one Australian, ou r own Barbara Campbell-Allen
(Sydney based anagama firer).
The book is very inviting. The initial contact has
one quite seduced by the images: it is all fairly new
work, mostly functional. traditionally based forms,
some sculptural but all extremely inspirational.
The different individual focuses range from forming,
workshop ping, firing, kiln building, setting up
studios and kilns, to philosophies and life changes.
But not all approaches are esoteric (navel gazing) in
nature and many work with a methodical and
systematic approach. It's all intelligent work and
there's nothing sloppy about it. Specific issues are
addressed throughout the book, such as David
Swanson's article on Graham Sheehan, from Rhode
Island and his desire to fire without a team of
helpers, using a bourry box inspired kiln. Large
scale community ventures are also included. "The
Kiln that consumed Elkton" by Howard Kiefer and
Deborah Lipman, explores a low economically
driven, small rural community inspired by Japanese
Artist Hiroshi Ogawa. The project is as much about
building community spirit as it is about building an
anagama. "The Incredible Hog Chain Groundhog"
by W Lowell Baker tracks the building of a huge
chamber kiln, Mississippi Arts funded, community
built project in Brookhaven.
76 POTTERY IN AUSTRALIA - DECEMBER 2001

Stokmg the fourth level of Kawabuchi's snake kIln. page 6B
Then there are slightly less conventional, though
very inventive experimental kilns by students, such
as the delightful low budget. low tech, but none the
less, high temperature "Horn Island Kiln" . The kiln is
made from three fibre-lined oil drums and ecavated
on the beach, its chamber buried in the sand, with
shells used to separate pots and driftwood used as
fuel. Another project sees students in New Zealand
incorporating thrown cylinders filled with vermiculite
to use instead of insulation bricks on their double
chambered Bourry Box design.
There are many diverse primary interests
amongst potters. 'An Urban Wood Kiln" by Sam
Clarkson addresses the OH&S issue of smoke in the
city (I) as does "Clean Air" by Gil Stengal from Ohio.
There are still many traditionally based annagama,
noborigama, snake kiln and climbing kiln incentives,
right down to the most basic and most beautiful
account On "Digging a Hillside Kiln" by Bryson
VanNostrand.
All the participants in this publication generously
offer technical as well as inspirational information,
such as kiln plans, kiln-building scena rios, packing
advice. glazing techniques and recipes as well as
suggestions for result evaluation. There are spiritual
windows of personal convictions regarding the
material and process, self-expression. beliefs,
passions and personal aesthetics. all within the
dichotomic and paradoxical world of wood firing.
Technically I don't think this is a book for everyone
but the pictures are. It would be as "at home" on a
coffee table as it would be in a well-stocked library
of a master wood firer.
Every artist in the book suggests a kind of
lifestyle far removed from our usual day to day
ways of being. All are individual and unique in their
approaches to working and living, and there is a
definite current of passion that runs between the
lines of all the articles. Throughout the book one
has the sense that all these people are striving for
a quality of life, as much as. a quality of work.
Review by Cath O'Gorman
Calh O'Gorman is a NSW based potter who specialises
in wood fired ceramiCS
DECEMBER 2001 - POnERY IN AUSTRALIA 77

TASMANIA
The Southern branch of the Potters' Society held
its 29th Annual Exhibition at the Schoolhouse
Gallery, Rosny from 16th to 30th September.
The Tasmanian Clay and Pottery Supplies Award
for Excellence went to Hermie Cornelisse for
"Ceramic Fleece II, a finely slip-trailed thrown and
altered vessel. (Hermie is having her first solo
show in the Sidespace Gallery of Salamanca Arts
Centre from 6 to16 December, entitled "REAL and
IMAGINED domestic life" ). Peter Battaglene won
the Derwent Ceramic Supplies Award for his
towering blue and white porcelain columns; the
Northcote award went to Cate Lowry for a
beautiful slip decorated thrown bowl; the
Ceramics, Art and Perception Award to Suzie Tyson
for her whimsical slip-cast angel teapot; and the
Pottery in Australia Award to Jeannie Hodge for an
exquisite Limoges porcelain slip-decorated vessel.
Jude Maisch won the Ceramics, Art and
Perception award for a maiolica and gold lustre
decorated jewel box; Yulia Szalay the Entrepot
Student award for her slip-cast, pierced "Sunday
Best Blundstones", and Mark Knight the Walker
Ceramics Viewer's Choice Award for his teapot
and cup fountain.
The Potters' Society has a new executive
committee with Peter Andersen the President
and Beres Taylor Vice- President. An excellent
workshop was given by Gretchen Hillhouse on
September 15. The next workshop is another
raku and Pit firing at Glen Lusk in February,
followed by Matthias Osterman in March. Off
Centre celebrates its second birthday and the
forthcoming Christmas season with a members
show entitled "Vessels", from November 30.
The cooperative gallery is in Salamanca Arts
Centre, the hub of a myriad of arts activity over
the Summer period.
The Not Yet Famous Exhibition, the work of Adult
Education students, features ceramics for the first
time this year, and is in the Long Gallery from
November 29 to December1. "Images of
Tasmania" is in the Long Gallery and the Sidespace
Gallery from December 18 until January 6, and
features the work of over 60 artists, including
some ceramicists.
From February 13 until March 3, Design =
Function + Fibre" will show at the Long Gallery.
The 21 st Tasmanian Craft Fair at Deloraine this
year is titled Celebrate Creativity, and features
the work of 220 selected arts and crafts stalls,
including many potters, and a special
contemporary glass exhibition. The Tasmanian
Museum and Art Gallery in Hobart opened a
new exhibition of studio ceramics from the
collection from November 24 until mid 2002.
Peter Hughes, the Curator of Decorative Arts,
says it focuses on work from 1925-1985,
"running from the experimental and amateur
Arts and Crafts inspired origins of Australian
studio ceramics through the period of the
hegemony of the Anglo Oriental philosophy
from the 1950s to the end of the '60s and then
to the 1960s(70's reaction and the subsequent
period of expressive, experimental and political
work."
Several Tasmanian ceramists provided
some of the table centre pieces for the gala
dinner for the World Tourism Convention in
78 POITERY IN AUSTRALIA - OECEMBER 200 1

November. Penny Smith, Peter Andersen, Ian
Clare, Danielle Pacaud and Yulia Szalay were
selected to highlight Tasmania's quality ceramic
w ork. A feature show at Wrest Point followed.
2001 has seen the end of the Ceramics
Department at Hunter Street in Hobart. In 2002
some clay work will still be done within the
Sculpture Department, and some Ceramics
students will be still completing other
subjects within their degree courses. End of
yea r exhibitions were held throughout
November and an end-of-year Department show
at Mawson's Place. Chantale Delrue is currently
working on a ceramic mosaic project for the
Glenorchy City Council to go into the footpath.
As part of the Centenary of Federation, it is titled
100 Stories, 100 Years, and Chantale has
designed a panel for each decade, based on
stories from residents.
In March 2002 Launceston celebrates 30 years of
tertiary art education. The Alumni Exhibition marks
the grand opening of the Inveresk Academy of
the Arts. This exhibition includes the work of 10
ceramists, all of whom trained in Launceston.
A grand PARTY is planned, and it is hoped that
as many former students of the Art School in
Launceston as possible will turn up. For more
details phone 0363243601. Tassie potters send
me your news (terrafiesta@trump.net.au)
Happy potting, Jude Maisch
ACT
What a busy and exciting few months this has
been for the Canberra Potters' Society. The
Annual General Meeting saw the election of an
enthusiastic new look committee under the
continuing leadership of president Ian Hodgson;
the long awaited retail outlet for members' work
is up and running; two new studio spaces have
been set up allowing extension of the Society's
comprehensive programme of classes; the
Gallery of the Watson Community Arts Centre
has been refurbished with the assistance of the
ACT Government and is now available for hire.
Why not log on to the Society's recently
established web site www.canberrapotters.com.au
to find out how to hire the gallery (or space for a
workshop) and to catch up with all the latest
news? At present the Gallery is housing the
Annual Selected Exhibition of CPS members
work.
The selector and judge for this years' exhibition
was Robert Bell, Senior Curator of Decorative
Art at the National Gallery of Australia, who also
performed the official opening on Wednesday
October 24 and presented the many awards.
The major award is the Doug Alexander
Memorial Award which is sponsored by the
Society. This year it was won by Catherine Reid
for two stunning tall and slender smoke fired
jugs, each highly burnished and with subtle
relief decoration. Other award winners included
Kaye Pemberton (Ceramic Glazes of Australia
Award for tableware), Malgorzata Webster
(Walker Ceramics Decorative Surface Award),
Krysia St Clair (Craft ACT Exhibition Award), Ian
Jones (Northcote Pottery Award for work fired
above 1100C), Jane Crick (Clayworks Award for
work fired below 11 OOC),
DECEMBER 200 1 - POnERY IN AUSTRALIA 79

aus ralia WI e
Petra Murphy (Spinning Gum Pottery Award for
innovative wheelwork) and Joan Barrass, Sarit
Cohen and Belinda Paton received Merit Awards.
Just before the opening of the Exhibition,
founding president of the Society, Pam Barker,
launched the retail gallery. Eighteen members
have undertaken to supply and staff this shop
and it is expected that the number of
participants will grow. At present the shop is
open between 10.30am and 5pm Thursday to
Sunday each week and has been very well
received by an appreciative public. The
extensive twice yearly sales of work by all
members will continue to be held.
The Strathnairn Arts Association is currently
holding its Annual Exhibition in its beautiful
homestead gallery at Holt and several local
ceramists are represented there. Canberra
artists will also be included in "Holus Bowlus",
an invitational exhibition featuring work by
potters from the Monaro region held in
November at the Raglan Gallery in Cooma.
The final event for the year of the Centenary of
Federation in Canberra is the "Peoplescape"
exhibition on the slopes of Parliament House.
Groups and individuals from all over Australia
will exhibit likenesses and/or interpretations of
their own "hero" - Canberra Potters' Society
have nominated Doug Alexander as their hero
and members Sara Hogwood and Diana Lloyd
have prepared his likeness. Look out for it when
you visit Canberra during December and don't
forget to pop into the Watson Centre and say
"Hello" as well.
Greetings and Best Wishes for the Festive
Season, Jane Crick.
SOUTH AUSTRALIA
THE TEA TREE GULLY ART AND POTTERY
EXHIBITION held the week of August 7 was,
once again, a resounding success. First
Prizes were carried of by Danny Murphy for the
Wheel Thrown section and Heather Clegg for
Free Form Sculpture. Limited to residents of
SA, entries numbered 135 'clay' plus 194
paintings, which made a very interesting show.
Congratulations to the dedicated and
enthusiastic bunch of potters who set up this
exhibition each year - a job well done.
THE SOUTH AUSTRALIAN CERAMICS
AWARD 2001, generously sponsored by the
Potters' Guild of SA Inc., enjoyed a packed
opening night on October 19. Robin Best
collected the prize winners cheque of $3000.
I'm planning another visit to get a better look at
the 25 (juried) exhibits. THE NORTHERN
CRAFT MARKET. brainchild of Tiffany Burge,
was officially opened by The Mayor of Elizabeth
on Sunday October 14 in the Octagon Theatre,
Elizabeth. More noted for opera, it is a great
venue for the many craftspeople who live north
of the city. Initially starting with 53 stalls, all with
standard fitted navy blue covers, the inaugural
event was so popular that negotiations are
under way for more space in the foyer. The
Market will be held on the second Sunday of the
month (excluding January) .Costs are
excitingly minimal. For more info 'phone 8284
5324 or PO. Box 22. Salisbury. SA 5114.
THE PLACE ON UNLEY is a charming and
relatively new Gallery at 30 Unley Road. Unley,
close to the Greenhill Road intersection.
Plenty of street parking, too. Trish Anderson
80 POTIERY IN AUSTRALIA - DECEMBER 2001

plans to offer quality paintings, pottery, jewellery
etc at prices we can all afford. Phone 8271
4426. THE TEA TREE GULLY CRAFT GROUP
have moved to a cottage almost diagonally
opposite, and close to the Ladywood
Drive/Montague Road intersection, Modbury.
The Gallery is once again open on Sundays.
If you are interested in pottery classes - contact
Pam Snelling. Phone 8380 5442. HENLEY AND
GRANGE ART SOCIETY cancelled their Spring
exhibition after a break-in and robbery cleared
the gallery of paintings and pottery. The
gallery is closed whilst the Committee and
members decide on future security measures.
For pottery class bookings ' phone Val Di
Girolamo. 83466067.
Round and about. I hear the usual scramble is
on to get those Christmas orders filled.
If you have any news, do please get in touch
with me.
Regards and Joyeux Noel!
Maggie Smith, email : smithx2@ihug.com.au
VICTORIA
Victorian potters have been extremely busy judging
by the amount of invitations I have been receiving in
the mail. Far too many to mention in this report.
To keep in touch with current exhibitions, it is well
worth being on their mailing lists and visiting these
galleries. In the last couple of months I have
enjoyed a diverse range of ceramics and art at
variety of galleries that are easy to access. I implore
everyone to visit and promote these galleries; we
need them as artists but we also need the public to
be aware of and access them.
Geelong Potters 25th Annual Exhibition was held
at the Karin Gallery, 4 James St Geelong and runs
from November 2 to 28 ..
Valley Potters ran a workshop, at their AGM ,
where four of their members, Raine Edwards, Tanya
Walsh, Eve Close and Judith Armstrong displayed
their diverse techniques with clay. The Valley
Potter's held their annual exhibition at the Walkers
Street Gallery in Dandenong during October. Chris
Sanders awarded the Acquisition Prize to Kerrie
Lightbody for her pierced bone china vessel. The
student Award went to Eve Close and the
Encouragement Award to Jan Barnes.
The Victorian Ceramic Group held a quiz at the
Box Hill Community Arts Centre on a dark and
glummy night in September, where they settled
before a cosy blazing fire, sipping wine and nibbling
cheese. Quiz masters Jane Annois and Doug
Hocken tried in vain to outsmart the teams of
contestants, but at the end of the night the team
'Bent Cones' won the 'grand prize hamper'. Such a
good night was had by all it has been decided to
run it again next year, so watch out for this event.
The VCG held a workshop at Box Hill, where
David Ray a handbuider, Anne-Maree Gentile
ceramic and mosaic artist and Peter Pilven, a
diverse potter with thrown and altered techniques,
displayed all their tricks to their trade. A throwing
competition to throw the tallest cylinder from 1 Kilo
of Southern Ice was won by Desley Leamon from
Mildura whose pot stood proud at 32 cm. The prize
was four packs of Southern Ice.
My husband has accepted employment in Kuala
Lumpur and we will be moving at the end of this
year, There is so much going on in the ceramic
scene in Victoria that I am going to miss, all the
good times and wonderful friends, This is not good
bye, it is just "until I see you again'.
Thank you, Marg.
DECEMBER 200 I - POTI ERY IN AUSTRALIA 81

news
TANJA WOODFIRE CONFERENCE
Surrounded by National Parks and home to many
artists. Tanja is a small community on the
Sapphire Coast of NSW. This unspoilt. natural
environment is the setting for a woodfire
conference to take place from April 25 to 28.
2002. Convenor of the event is the well-known
and enthusiastic woodfirer Yuri Wiedenhofer.
His bushland property and workshop. featuring
two anagama-style kilns and only minutes to the
Pacific Ocean. will be the main venue.
The materials. processes and aesthetics of
woodfiring in the context of locality. will be the
main theme. An intensive programme of firings.
activities and projects using local materials is
planned. Invited international guests are Jeff
Shapiro (USA). and Lee Kang-hyo (Korea). both
exceptional practitioners. Jeff Shapiro. having
spent ten years working and studying in Japan. is
a leading player in the field of anagama practice.
He will be leading much of the discussion. Lee is
an impressive performer and will be
demonstrating his particular method of making
large Onngi-style pots on a traditional Korean
wheel. Many of Australia's expert woodfirers will
be there to take part. and there will be
opportunity for all to show slides and exhibit
woodfired work. All strata of accomodation is
available. Camping on site is encouraged;
water, cooking and washing facilities are provided.
For further details contact Ceramic Art,
120 Glenmore Road, Paddington NSW 2021
Australia. Tel + 61 (0)29361 5286
Fax +61 (0)29361 5402
Email: ceramics@ceramicart.com.au
www.ceramicart.com.au/link to Tanja Woodfire
Queries to Yuri Wiedenhofer
Tel + 61 (0)264940288
CERAMICS AT SOFA
While the events of September 11 lent an
atmosphere of uncertainty to SOFA 2001, this
was considered the best fair yet in terms of
presentation and content. Attendance at 27 ,000
was only slightly down on previous years. Craft
Australia first organised our presence at this
prestigious event in 1991. and this has been
maintained ever since. with seven Australian
galleries and three publications represented in
2001. Australian ceramics were shown by
ARTEFACT (Victor Greenaway, Fiona Murphy,
Cybele Rowe). Despard Gallery (Kate Dunn.
Angela Mellor. Derek Smith), Narek Galleries
(Janet De Boos) and Raglan Gallery (Mitsuo Shoji).
Good sales were achieved in some cases.
Essays on the show by Dr Diana Wood Conroy
and Beth Hatton appeared in the SOFA catalogue.
2002 MYER FUND AWARD EXHIBITION
The 2002 Sydney Myer Fund Award exhibition
opens at the Shepparton Art Gallery on March 1
when the judge. Satoru Hoshino. from Japan will
announce the award and merit awards from 60
works selected, including 18 Australians,
Australians selected for the exhibition are Julie
Bartholomew, Garry Bish. Jill Chapman, Kris Coad ,
Greg Daly, Peter DoWlon, Lynda Draper. Robbie
Harnsworth. Stephen Hudson, Angela Mellor,
Angela Claire Nagel. Susan Robey. Carolyn
Roberts, Angie Russi, Amanda Shelsher, Mitsuo
Shoji, Petrus Spronk and Roswitha Wulff.
PRESIDING OFFICERS' AQUISITIVE CENTENARY
CRAFT PRIZE
This prize was set up in 1998 to recognise the
wealth of creativity that is vested in Australian
craftspeople and the important role they had in
the building of Parliament House. The works are
on display in the Presiding Officers' Exhibition
Area at Parliament House until the end of
December 2001. Twelve ceramic artists were
selected as exhibition finalists - Fiona Murphy.
Vipoo Srivilasa. Fiona Hiscock. Gwyn Hanssen
Pigott, Nicole Lister. Greg Daly, Kris Coad ,
Rolf Bartz, Rynne Tanton, Jill Symes, Liz Stops.
and Jeff Mincham.
82 POTIERY IN AUSTRALIA - DECEMBER 200 1

FUTURE FUNCTION -
EXHIBITION AT THE MANLY ART GALLERY
AND MUSEUM IN CONJUNCTION WITH
THE POTIERS' SOCIETY OF AUSTRALIA
January - february 2003
The exhibition provides an opportunity for ceramic object makers to
rethink tableware design suitable for domestic or commercial use over
the next 10 to 20 years. Following preferences for Asian food and
modern cuisine, inroads have been made into the traditional European
tableware setting, but still it remains in department stores and in
cupboards: out of date, inefficient. but enduring. Social trends are
towards smaller families and increases in single person
households.This has led to changes in dining-in patterns. Product use
is towards the multifunctional. Consumers are looking for identity
items to serve their take-home, pre-prepared foods. With higher
amounts of discretionary income, they are also looking for long life
and quality in the products they choose selectively for their table:
something tha( will last to the next generation.
The exhibition offers an open brief: an opportunity to present genuine
prototypes of either a single specific-purpose object. or one which is
multifunctional, or a group of objects which are interactive and
multifunctional. It is also a chance to explore more extreme
possibilities, extiavagant designs, both playful and imaginative. You
may choose to work on the project independently or in collaboration
with a restaurateur in you neighbourhood.
Please send a bri,ef outline of research proposal. 3 slides of recent
work, a at and two working drawings or photo documentation.
'-
Enquiries a·rid Applications to Curator
Helen Stephens - PO Box 105, Erskineville, NSW, 2043
Ph. 1300 720 124 Fax 02 95173690
email: mail@potteryinaustralia.com
Expressions of interest
Applications close
Applications notified
Exhibition dates
30 March 2002
30 April 2002
30 June 2002
Jan 24 - Feb 23, 2003
)
i
DECEMBER 200 1 - POnERY IN AUSTRALIA 83

tery in Australia
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DECEMBER 2001 - POTIERY IN AUSTRALIA 85

. NSW Potters at Work Roundhouse Gallery Fremantle Arts Centre
Wit10n St. KATOOMBA 1/2 Oueens Pde, Bookshop
Art Gallery of NSW
TRARALGON
1 Finnerty St. FREMANT
Domain Rd, SYDNEY
Potters' Needs
18 Scott Place KELSO The Arts Book Shop Guildford Village Potters
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Shop 7, Manning Street The Powerhouse Museum
KINGSWOOD Shop Walker Ceramics Jacksons Ceramics
500 Harris St ULTIMO 55 Lusher Rd, CROYDON 94 Jersey SI, JOLIMONl
Bathurst Regional Art Gallery
BATHURST Port Hacking Potters Group • QUEENSLAND Margaret River Pottery
MIRANDA
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Bellingen Newsagency
The Artery
MARGARET RIVER
83 Hyde St, BELLINGEN Raglan Gallery WARWICK
5-7 Raglan St, MANLY
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18 Stockdale Rd, O'CON
Studio Sturt Craft Centre 29 O'Connell Terrace,
11/Powells Rd, BROOKVALE MITIAGONG BOWEN HILLS
• TASMANIA
Ceramic Study Group Syretts Newsagency MP Ceramics Derwent Ceramic Suppli
MACQUARIE CENTRE, NSW 30-32 Otho SI, INVERELL 143 James SI, TOOWOOMBA 21 Rianlannah Rd,
Coffs Harbour Pottery Tottie Potters North Queensland Potters
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Supplies 38 Umang SI, TOTIENHAM Association, TOWNSVILLE Entrepot Art Products
18 Allison SI, COFFS
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9/10 William St ADAMSTOWN 51 Castle maine SI, MILTON Hunter St. HOBART
Gleebooks
Walker Ceramics Queensland Pottery Supplies • U.S.A ,
131 Glebe Point Rd, GLEBE
45 Tramor Place, Unit 2/11 Ramly Drive, Pine Ridge Pottery
Hilldav Industries KILLARNEY HEIGHTS BURLEIGH HEADS 5704 G General Washing
108 Oakes Rd,
• ACT The Pottery Place Dr, Alexandria, VIRGINIA
OLD TOONGABBIE
CAIRNS 22312
Humphries Newsagency
Canberra Potters Society
The Clay Shed
Seattle Pottery Supplies
60-64 The Corso, MANLY
1 Aspinal SI, WATSON
2/24 Hi-tech Drive 35 South Stanford, SEAT
Inner City Clayworkers
Craft ACT
KUNDA PARK
Cm St Johns Rd & Darghan
CIVIC SQUARE
• CANADA
Queensland Art Gallery
SI, GLEBE National Art Gallery of Aus!. Scona Pottery Supply & (
SOUTH BRISBANE
Janets Art SuppliesP/L
Bookshop, CANBERRA
Art Studio, 8105-104 SI,
Queensland Potters Assoc, Edmonton, ALBERTA
143 Victoria Ave, Walker Ceramics 482 Brunswick SI,
CHATSWOOD 289 Canberra Ave, FYSHWICK FORTITUDE VALLEY • NEW ZEALAND
Keane Ceramics
• VICTORIA
Cobcraft Supplies
3971 Debenham Rd. • SOUTH AUSTRALIA 24 Essex SI, CHRISTCHL
SOMERSBY Artisan Craft Books Bamfurlong Fine Crafts
231 Gertrude SI, FITZROY South Street Gallery
Mudgee Book Case
34 Main St, HAHNDORF
10 Nile St, NELSON
10 Church SI, MUDGEE Clayworks Potters Supplies Jam Factory Craft & Design
6 Johnson Crt, Compendium
Mura Clay Gallery
Lion Arts Centre
DANDENONG
5 Lome SI, AUCKLAND
49-51 King SI, NEWTOWN
19 Morphett St, ADELAIDE
Koorakooracup Potters
Wellington Potters Suppl
NSW Pottery Supplies
The Pug Mill
17 Fisher St, GISBORNE 2 Cashmere Ave, Khand,
50 Holker St SILVERWATER
17A Rose St, MILE END
WELLINGTON
Northcote Pottery Services
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85A Clyde 51, THORNBURY
• WESTERN AUSTRALIA
MILTON
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Potters Cottage Gallery
Object
Bookworld
321 Jumping Creek Rd
88 George St, THE ROCKS 240 York SI, ALBANY
WARRANDYTE
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Crown St, SURRY HILLS
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Bussel Highway, STRATHAM
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86 POTIERY IN AUSTRALIA - OECEMBER 2001

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DECEMBER 2001 - PonERY IN AUSTRALIA 87

THE INNER CITY CLAYWORKERS GALlERY is a co-operative
exhibiting neoN ceramICs Next year the group celebrates its 20th year
at Its gallery In Glebe. There are currently 16 members in the
co-operative who all have stock on display in the gallery & participate
In individual and group exhibitions throughout the year.
Inner City C1ayworkefs Gallery Co-operatIVe Umlted, cnr 51 John's Rd
and Darghan St. Glebe 2037. Gallery hours: Wed· Sun 1030· 6pm.
(but 5pm June/July). Ph/Fax. (02) 9692 9717 VIIWW clayworkers.com.au
OSMOSIS PLASTER MOULDS
Range lOdudes native wildlife. ligunnes. lablevvare etc
Finished ware depending on ordef size and Specialised mould design
and manufacture for indIVidual commissIOns.
For brochure send $5 to: Ozmosis Moulds. Soldier Settlers Road.
Newee Creek. Via Macksville, NSW 2447
~x- t0216568 1903
Email' salh@telstra.easymailnet.au
ALL HAND MADE
stocks contemporary Australian ceramics. domestic and fine art
and speciahses In tea bowls . japanese inspIred tea bowls made
by Australian masters.
Contact Helen Stephens, PhJFnx (02) 9386 4099
252 Bronte Road, Waverley 2024, email' ericS@dot.net.au
AUSTRAUAN CERAMICS DIRECTORY
The Potters' Society of Australia's new' national directory provides
easily accessible information about individual potters & ceramtsts.
groups. education. and Australian Ceramics gallertes
For more information:
Ph: 1300 720 124 Fax: 0295173690
or 1I1f:\N the directory at WVVIN potteryinaustralia.com
FALLS GALLERY
Continually changIng exhIbition of ceramics and original works on
paper Ceramics by Peter Rushforth.Rlchard BrookS, Ian Smith.
Andrew Halford,Jane Barrow and others.Etchings by Arthur Boyd.
Max Miliel. Wendy Sharpe. Anne Smith.Garry Shead.:
161 Falls Road. WentwOfth faits 2782
Directors. Ian Smith. Anne Smith
Ph; t0214757 1139 Fax- t0214757 1139
Email fatlsgall@pnc.com.au Website www.faUsgaUery.com.au
MONTE LUPO POlTERY
The Multiple Handicapped Association of Queensland trading as
Monte Lupo. POrrERY & FINE ART Shop 2016 Garden City Shopping
Centre Upper Mt Gravatt Old 4122.
Ph: 0732194422 StudIo: 07 38416266 and Westfield Shopping Town
Cnr Gympic and Hamilton Rds Chermside Old 4032
Ph 07 3350 4636
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density hot face insulatmg brick (fibre freel. economical to operate
Made tn Austraha· one of Australias' most experienced kiln and
furnace manufacturers. Australias' largest range- 32 standard sizes
.o(:ustom sizes on request
12 George St, Blackburn. VIC 3130. Australia
Ph- t03l9877 4188 Fax; (03) 9894 1974_
CERAMICRAFT· KILNS KILNS KlLNS KILNS
Tru--fire kilns are made in Australia and carry C·tIC compliance. have
fixed stand with roller casters, and come WIth cord and plug.
These kilns are built to last. We send kilns anywhere in Australia.
Call for details. Ceramicrafl. 33 DennlOgup Way Malaga 6090 WA
Ph - tOOl 9249 9266, Fa,- tOOl 9249 9690
wwwceramicrah com.au
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I CeramiC matenals supply company Venco products. Westwind turbines, Solarflow- all stainless steel de
• Powdered & Brushed-On Glazes, Casting Slips. Clay Bodies.
airing pug mills- for Quality you can rely on.
.. Frits & Stains. VencD Poners Wheels, Pug Mills. 29 Owen Rd, Kelmscott. WA 6111.
.. ManufacttJrers 01 Electric & LPG Kilns. pH (6-18) 9399 5265 f (6-1819497 1335.
:l 1117·19 Pdvesi St. Guildford, NSW 2161 14 lambert Ave, NEl'NtDwn-Geelong. Vic 3220
I Ph, (02198921566. Fa,· (02) 9892 2478. Ph , {6-1815222 1484 Fa" (6-18) 5221 1118
EmaiL csco@bigpondcom
Email' venwest@iinet,nat.au
CLAYWORKS
WALKER CERAMICS
Check out our new look web-site www.ozemai1.com.au/- claywork
Pottery Materials & Equipment Specialists. Fine Colours for Ceramic
for all the latest informallon on changes at ClAYWORKS
DeSIgn. Australian Distributor of Mason StalOs- Glazes. Porcelains.
Read about our new AJr Pen Visit the "Ice Gatteryff and View the
Onglazes, lustres, Fine Clays & SliPS, Colours 6 Glazes,
exquisite creations of Les Btakebrough·s Southern tce.
DistribulOrs- Australia. New Zealand, Smgapore. UK Melbourne
Also. now available at CLAYVVOAKS 150mm SQuare bisqued Ph (0319725 7255 Fa" (03) 9725 2289
earthenware Australian made tiles lor decorating Sydney Ph: l02) 9451 5855 Canberra Ph . (06) 280 5700
Ph . (0319791 6749. Fa" (03) 9792 4476
Email: sales@\Nalkerceramjcscom,au
V"NlWwalkerceramics com.au
KEANE CERAMICS ..J HIROE SWEN HANDBUILDING MASTERCLASS
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FEBRUARY 2002
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suppliers of raw malenals, glazes, underglazes. tools, and equipment. :J: 3-day hands-on workshop by Canberra Poners' Society With renowned
Mon-Fri 7.30am-4pm. Sat Sam-12pm. U potter. Hiroe Swen. Hlroe taught for many years at the Canberra
177 Debenham Rd South, Somersby NSW 2250. Vl School of Art and is an inspiratIOnal teacher. Her work is In the NGA
Ph. (0214340 1069 Fa,. (02) -
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JAPAN CERAMICS TOURS
TERENCE BOGUE
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Visit Japan at cherI)' blossom time - PartiCipate in pottery workshops
web address: hltp.//wvIrw.netspace.net.au/-totograf
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in Tokoname. Enjoy 10 days of traditional homestay accomodation. I- the photographIc resource for australian craft
ViSit six kiln sites, galleries and studios with exclUSive meetings and 0 email. fotograf@netspace.net.au
demonstrations by some 01 Japan's leading ceramic artists.
:J: Terence Bogue Photographer PO Box 1202. Kensington, Australia 3031
C.
Departs 2 April 2002 - For further information contact
TellFax: + 61 39381 406B
DestinatIOn Management - Freecalt 1300 307 317 Mobile. 0412977 511
Email. tra'tl'el@toursgallervcom. WebSite: www.toursgaUery.com
DECEMBER 2001 - POTTERY IN AUSTRALIA 89

ACADEMY OF THE ARTS, LAUNCESTON, UNIVERSITY OF MONASH UNIVERSITY ~ Art & Design thrrves at Monash
TASMANIA
with respected Postgraduate studies in ceramiC$ Cautfield •
The University of Tasmania's ceramics programs are taught Gippsland - distance education - Master of Visual Arts by
at the new Academy of the Arts in Launceston. We offer
coursework HECS places available at Gippsland & by
major studies in ceramics 8t diploma, degree. honours,
distance - Applications close 31 October 2001 Gippsland &
masters and PhD levels. The ceramics studio is new, off-campus - Rosemary Abbott, +61 351222626
spacious and well equipped, The studio also offers studies
Email: gippsland@artdes,monash.edu.au
in warm glass. Students enjoy individual work spaces, an DluHield - Vikki Stern, +61 39903 2707
excellent library and the the latest computer technology.
Email: postgrad@artdes.monash.edu.8u
Professor Vincent McGrath Head of Ceramics
Ph: 03 63244400
CANBERRA SCHOOL OF ART
NORTH COAST INSTITUTE OF TAFE - USMORE CAMPUS
Institute of the Arts- The Australian National Univer5ity.
Certificate, Diploma and Advanced Diploma Courses
Offering a range of courses- Bachelor of Artsl Combined
in Ceramics
degrees/ Graduate Diplomas/ Master of Visual Artsl
Courses require application.
Master of Philosophy/ PhD. Enquiries: John Stewart Ph : 0266266480
For course Information Ph: 0261 25 5711
john.stewart@tafensw.edu.au
Fax: 0261 2S 5705. Email: Secretary.rTA@anu.edu.8U
www.anu.edu.au/ITAJCSA/
HOLMESGLEN INSffilfTE OF TAFE, VICTORIA
Diploma of Arts (Ceramics). Classes are taught by Australia's
leading studio potters in outstanding facilities. Also, Pottery
Skills & Sales- handbuilding, wheelforming, technology and
maril;eting and Ceramic Mouldmaking plaster modelling and
mouldmaking skills.
Courses offered part time and full time
Contact: Jenny Horwill Ph: (03) 9564 1579
Email: jennyh@holmesglen.vic.edu.au
NORTHERN SYDNEY INSffilfTE OF TAFE, HORNSBY
COLLEGE
Full time and part time courses offered. Day and evening
classes. state of the art faciHties, encouraging and diverse
professional tuition, emphasis on practical skill development.
Enrolments Friday February 1, K Block, 205 Pacific Hwy,
Hornsby. For further information contact Terry Wright
Ph: 9472 1224 or email: theresa.wright@tafensw.edu.au
NATIONAL ART SCHOOL
RMIT UNIVERSITY - SCHOOL OF ART AND CULTURE,
Forbes St, Darlinghurst. NSW 2010
VICTORIA
Bachelor of Fine Arts, Bachelor of Fine Arts (Hons), Master of The Ceramics section offers the following programs:
Fine Arts, Short Courses & Summer and Winter Schools,
Bachelor of Arts, Bachelor of Arts (Hons), Master of Fine Art
Artist in residence program, international exchanges and
(Coursework), Master of Arts (Research), Doctor of Fine Art
visiting artists.
Doctor of Philosophy (PhD)
Contact Bill Samuels Ph/F." 102)93398630
For further information please contact:
Email : bill.samuels@det.nsw.edu.au Assoc.Prof. Kevin White Ph: (03) 9925 2656
Or Email: kevin.white@rmit.edu.au
NORTHERN BEACHES TAFE, BRooKVALE, NSW
SOUTHERN SYDNEY INSTITUTE OF TAFE
Learn the latest and best methods of creative clayworking. GYMEA CAMPUS. NSW
Courses: Certificate 2 to Diploma.
Diploma & Advanced Diploma Ceramics Courses
Specialist statements in Wheetforming, Handforming,
Wednesday, Thursday & Friday x 3 years
Surface Treatment.
Certificate Ceramics Courses
Tutors are practising and recognised artists.
Part Time Day or Evening Monday & Tuesday
Facilities include woodfire. gas. electric and raku kilns,
Cnr Kingsway & Hotham Road Gymea NSW
Visiting artists program, studio visrts and firing events.
Contact the Ceramics Department on
Contact: Bruce McWhinney Ph: 99415290 Ph: 102197105001 Fa.: 102197105026
90 POTTERY IN AUSTRALIA - DECEMBER 2001

CERAMIC STUDY GROUP INC.
SUZIE McMEEKIN
Our potting year starts off with a one-day demonstration/workshop
at the Powerhouse Museum with
Janet DeBoos
"Understanding Porcelain"
Sunday 10 February
•
Cameron Williams
Sundar 26 May, 2002 visit Cameron's Lithgow Studio.
There wil be demonstrations, activities, folk music and food .
•
Meetings
These are held on the 4th Frida)' of each month (except December & January)
at the Dence Park Creative Centre, Dence Park, Stanley Road
r
Epping.
Doors open at 7.30pm. Plenty of free Parking. Visitors we come
Membership is open to everyone interested in pots and pohery. As a member, you receive a monthly newsleher,
can borrow from our extensive slide and video library, study our permanent collection and receive preferential
bookings and reduced rates lor workshops and meetings.
For WORKSHOP BOOKINGS or further INFORMATION pleose write to:
CSG Inc. PO Box 1528, Macquarie Centre, NSW 2113 or phone:
Secretary: 02 9869 2195 fax: 0298694722 or Membership Officer: 02 9953 1352

ARTISAN
BOOKS
The Potters Socletv of lustralla
Th e most extensive range of
books on Ceramics in Australia.
Exhibitio n catalogues &
pos tcards
• Dol Kolenlis - NSW
• Simon Reece - NSW
• Inge Egede Soulhcon - NSW
• Jill Chapman - NSW
• Megan Bennen -Old
• Amber Edwards - NSW
\V\vw.artisan.com.au
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Full and Part Time Options i '1 j :n
Enquire al your local TAFE College or Phone 02 92 17 4299
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Fun and Part Time Options it' iii ::0
Enquire at your local TAFE College or Phone 02 9217 4299
92 POTTERY IN AUSTRALIA - JUNE 2001

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M'P tf PR/J.fP£R()t(~ 2()()Z
Check out our web site www.ozemail.com.au/-claywork
email your enquiries or orders to claywork@ozemail.com.au
CLAYWORKS AUSTRALIA PTY LTD
A.C.N. 007 005 932
6 JOHNSTON COURT DANDENONG 3175
PHONE 0397916749 FAX 03 9792 4476
DECEMBER 2001 - POTIERY IN AUSTRALIA 93

POTTERS
F il tered and unfiltered
Terra Cotta and Buff
Suitable for throwing and
For prices and
further infonnation
contact:
Bennetts
Magill Pottery Pty Ltd
28 Bryant Road, Magill S.A. 5072
Phone:
08 8431 1340
Fax:
08 8332 5288
94 POTIERY IN AUSTRALIA - DECEMBER 2001

DECEMBER 2001 - POTTERY IN AUSTRALIA 95

HOT&STICKY PTY
LTD
Steve Harrison - KILN & CLAY TECHNOLOGY
C USTOM DESIGNED & B UII;r KILNS:
Eledrie and gas /ired
Killl repai rs
RefraclOry in sulation brick or fibre
Burners - LPG or lIa tural gas
Hoods - cuSlom built sta in less stet,1
Stainless steel nue systems
Fibre kilns availabl e in ki t form
Veneo pmlcrs wheels
Venco vaCUUlll pug mills
Kiln shelves and props
Digita l pVl'omdcrs & thermocoupl es
CREATIVE SOLUTIONS TO TECHNICAL PROBLEMS
Old School, 5 Railway Pde, Balmoral. Vil lage via Picton 2571
Telephone or facsimile 02 4889 8479 • Ema il: hotnsticky@ozcmail.com.a u
96 POnERY IN AUSTRALIA - DECEMBER 2001

ceramic artists I potters • galleries • organisations • groups
Now at www.potteryinaustralia.com
Official launch
Powerhouse Museum 23 February 2002
• A comprehensive national reference for all those interested in Australian
ceramics and pottery
• Enjoy a wide exposure to national & international galleries, curators,
industry, collectors, architects and designers
• Direct links to your email & individual website
• Search facilities by name, state or key topics
• Easy updates
• View the Australian Ceramics Directory at www.potteryinaustralia.com
TO APPLY
Mail details to Australian Ceramic Directory: PO Box 105 Erskineville Sydney NSW 2043
Fax: (02) 9517 3690 Email: mail@potteryinaustralia.com Ph: 1300720124
IMAGE
One good quality slide, print or 72 DPI image Opeg preferred) max 350 pixels on its longest edge.
TEXT
150 or less words about your work practice, remembering that key words describing genre, clay or
firing types will help visitors narrow their search fields.
CONTACT DETAILS
Artist and lor Business Name. Address. Phone. Fax. E·mail. Website. Photographer's Name.
REGISTRATION FEES (prices include GST)
$66 Members or $94 Non Members + $13.20 to scan slide or photograph.
My cheque is enclosed 0 Debit my - Bankcard 0 Mastercard 0 Visa 0 Amex 0
Card Number 0000000000000000 Total Amount... .............. .
Expiry Date ........... ...... .. ...... ....... Signature .. ...... ....................................... .
This form gives copyright permission for PSA to put the image on the Australian Ceramic Directory.
Join the Potters' Society of Australia to receive Directory discount.
DECEMBER 2001 - POTIERY IN AUSTRALIA 97

CERTIFICATE. DIPLOMA a ADVANCED DIPLOMA
COURSES IN CERAMICS
Courses require appliatlon.
Enquiries: John Stewart (02) 6626 6480
john.stewartOUfemw.edu.au
CERAMICS COURSES 2002
Northern Sydney Institute of TAFE
HORNSBY COLLEGE
• Beginners to advanced courses
• Full time or part time
• Day and evening classes
• State of the art facilities
• Encouraging and diverse professional tuition
• Emphasis on practical skills developement
Enrolments: Friday 1 February 1 - 7pm
Lower ground Hoar Block K
205 Pacific Highway, Hornsby
For course information or to ~~ister your interest
Pleose contoct Terry Wright: 9472 1224 or
email: theresa.wrightO!afensw.edu.au
98 POTIERY IN AUSTRALIA - JUNE 2001

Why Use A Press in Your Pottery?
The main frustration that potters experience
today is the requirement for large runs of
identical items, which ties up most of their
time, and prevents them from doing the
individual pieces that
they enjoy most.
Green pressed items can also be
modified to be unique in design
by turning additional features
onto them after pressing.
This process lends itself
particularly well for shapes that
can not be thrown on a
conventional wheel, such as
square bowls and plates, as well
as tiles.
Just use your imagination, and
one of our presses will put both
money and time back into your
business, and allow you to do
the work you enjoy most!
PRESSED
74-76 Hoddle St, Robertson NSW 2577
Phone: (02) 48851262, Fax: (02) 48861272 Email: kingent@8C8net.com.au
DECEMBER 2001 - POITERY IN AUSTRALIA 99

Clean EfIIcient Gas KIlns
and Fumace •
... Environmentally friendly •
... Low density hot face
insulating brick. (Fibre Free)
... Economical to operate •
... Made in Australia •
... One of Australia'. mott
experienced kiln and furnace
manufacturer.,
• Australia'. largest ' .... II 32
ltandard ... II owtom ...
on requett.
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CERAMICS
KHIM'., ....
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2002 Sidney Myer Fund
International Ceramics
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'MMmfl11§~ ~

Tour includes majolica decorating classes led by
ViClor Greenaway & Marino M orcltj
in Marino's studio, a 91he castle in Viceno
Small group tours, maximum 12
Based in the ancient hilltop lown of Orvieto.
home of Italian Maiolica
Discover Umbrian life through its ceramic
tradition, art history, food & wine.
language & culture
Expen guidance. all incl usive, carefully costcd
Australia magazine
an eye catching section
- dedicated
to travel and tours.
• • • • • • • • • • • • • • • • •
have many local and
international operators and agents
who specialise in art and ceramics
tours exclusively. Destinations such
as Mexico, Japan, Korea, Turkey,
China, Vietnam and Far North
Queensland are very popular with
both national and international
Contact: Judilh Greenaway
P.O. Box 634 Lakes Entrance VIC 3909 A USTRAUA
TellFax: +613 5156 32 19 Email: judeg@bigpond.com
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For brochures and more information contact:
•
POTTERY IN AUSTRALIA PRESENTS
Japan
POTTERY WORKSHOP
STUDIO & KILN TOUR
See Japan at Cherry Blossom time. Enjoy 10 days of
traditional homestay accomodation. Visit six ancient kiln
sites, galleries and studios with exclusive meetings and
demonstrations by some of]apan's leading ceramic artists.
DEPARTS AUSTRALIA 2 APRIL 2002
DESTINATION MANAGEMENT PO Box 1109, Stafford Qld 4053 Freecall: 1300307 317
Email: travel@toursgallery.com Website: www.toursgallery.com
102 POnERY IN AUSTRALIA - DECEMBER 200 1

DECEMBER 2001 - POTIERV IN AUSTRALIA 103

104 POTTERY IN AUSTRALIA - DECEMBER 2001