Pottery In Australia Vol 42 No 3 Spring/Summer 2003

POTTERYin 

USTRALIA 

he Journal of Australian Ceramics

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Volume 42 Number 3 - Spring/Summer 2003 $1 4.50 

CO FEATURE PROFILES 

8 Newcastle Region Art Gallery 68 Cecily Gibson 

Gillian McCracken 

Franscesca Beddie 

Front Cover FOCUS ON POTIERS 71 Megan Puis 

Wendy Sharpe & Janna Ferris, AND PAINTERS Gordon Foulds 

Wendy and Janna in the Studio, 14 Changing Surfaces 72 Jena Bedson 

ceramic pencils and crayons, Narelle Symes Gordon Foulds 

transparent glaze, d.26cm. 

Photo: Michel Brouet. 18 The Painter, the Potter INTERNATIONAL MARKET 

and the Muse 

74 Pottery Markets in France 

Sasha Grishin 

Published by 

Jane Annois 

The Potters' Society of Australia 23 Wendy Sharpe & Janna Ferris 

PO Box 105 

Lucy Buttenshaw 

TRAVEL TALE 

Erskineville, 2043 

77 Tour ot Thailand 

26 Potter required 

Tel 1300720124 

Vipoo Srivilasa 

John Ferguson & David Bromley 

Fax (02) 95173690 

STUDIOS & OPPORTUNITIES 

rnail@australianceramics.com 28 Encounters Across the Ocean 

Victor Greenaway 

80 A two way partnership 

Editor 

Fiti Campbell 

INTERNATIONAL 

Trisha Dean 

82 The lin Shed Pottery 

32 Faenza 

Kim Neilson-Creeley 

Marketing & Promotions 

Elizabeth Charles 

Carol Fraczek 

TECHNICAL 

34 Public Artwork 

Laura McEwan 

85 Shino Journey 

State Representatives 

Helen Martin 

39 Summer Symposium 

Victoria 

Nicole Lister 

Jan Barnes 

88 Anagama 

Choi Ling Kong 

siezetheclay@hotrnail.com 

AWARDS 

North Queensland 

SCHOOL PROJECTS 

42 Behind the Scenes 

Lone White 

Geoff Walker 

92 Artist in Residence 

lone@tpg.com.au 

45 Excellence and Innovation Dianne Sutton 

Western Australia 

Canberra Potters' Society 

Ann Storey 

RETROSPECTIVE 

(OB) 9023 5397 48 Melting Pot 

94 Back to Back 

Queensland 

Lone White 

Tobias Spitzer 

Marcus Hughes 

50 Townsville Ceramic 

fu sions@gil.com.au 

WORKSHOP REPORT 

Competition 

ACT Wendy Bainbridge 95 Glass Casting 

Jane Crick 

Ellin Pooley 

(02) 6161 0806 52 Hallowed Gallows 

Fleur Schell 

janecrick@dodo.com.au 

ONLINE 

South Australia EXHIBITIONS 96 Internet Marketing 

Maggie Smith 

Sue Buckle 

55 Figure and Ground 

(08) 8337 9854 

Daneille Pacaud 

OBITUARY 

smithx2@ihug.com.au 

Tasmania 60 Showing Off Again 99 Carl McConnell 

Jude Maisch Lesley Shuttleworth Kevin Grealy 

terrafiesta@trump.net.au 

62 Exploring Light AUSTRALIA WIDE 

Design 

Angela Mellor 

100 State Representatives 

Imogen Landau 64 Ceramics in Context 

Astrid Wehling 

Sue Buckle 

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FOR I"'~O CALL .612 93511104 OR VISIT wwwousyd.edu.au/sca 

wnM' tUlII({ l)' T .. I.~T~ 

PIA - SPRING/SUMMER 2003 1

-ditoriat 

TRISHA DEAN 

It has been a wonderfully productive year for the journal now in 

its 42nd year of publication. It was very exciting at the Annual 

General Meeting of the Potters' Society of Australia when the 

committee voted unanimously to launch a new masthead in March 

2004. The title will now read, The Journal of Australian Ceramics - 

Pottery in Australia and the volume issue numbers sequence will 

continue (see preview p.l 05). It is believed that the emphasis of 

the new masthead more fully reflects the content of the journal, 

which has always showcased the diversity of creative work going 

on in the studio ceramics sector in Australia. The sector includes 

individual studio potters, ceramic sculptors, architectural ceramists, 

artists, ceramics educators, ceramics galleries, ceramics and 

pottery groups, and manufacturers and suppliers of clay and 

ceramic products. 

Several articles in this edition relate to the historical and 

contemporary relationship between painters and potters in 

Australia. The catalogue essay by Shepparton Art Gallery curator 

Narelle Symes, The Art of the Wheel and the Colour Laden Brush, 

explores the connection between the two streams of collecting at 

the gallery throughout the 20th century. Professor Sasha Grishin 

writes about the collaboration between Lino Alvarez and Garry 

Shead at La Paloma Pottery, Hill End. Australian Galleries in Sydney, 

is currently showing the works by Garry and Lino, and record 

prices have been realised for the ceramics in the exhibition. 

Annual Members' Exhibitions and Awards provide an important 

opportunity for professional and emerging artists to showcase their 

work. The Ceramic Arts Association of Western Australia, Cairns 

Potters ClUb, Canberra Potters' Society and the North Queensland 

Potters Association have all contributed articles and images which 

reflect the diversity and strength of practice nationally. Geoff 

Walker gives a behind the scenes account of the 22nd Gold Coast 

International Ceramic Art Award which attracted 256 entries from 

21 countries! 

The journal is receiving an increaSing number of articles which 

relate to Australian ceramists successfully exhibiting and selling 

their work internationally. This success is a testament to the 

growing strength of the sector. I would like to take this opportunity 

to sincerely thank the supportive team who have worked with the 

journal this year and who continue to contribute to its success. 

Trisha Dean 

2 PIA - SPRING/SUMMER 2003

president's 

repor 

MELISSA LEES 

Another year is drawing to a close and I am happy to report that the Society has had a very exciting 

and successful year. Cover Story continued its national tour and was shown at Ignition in Bendigo and 

the Watson Art Centre in the ACT. In 2004 the show will travel to the Jam Factory in Adela ide. The 

Journal of Australian Ceramics - Pottery in Australia was also represented at SOFA Chicago in October 

2003 in conjunction w ith Tasmania's Despard Gallery. 

Our design team has been working to devise a new masthead for the magazine and while the 

design is yet to be finalized. members attending the AGM voted unanimously to launch the new 

masthead on the first edition of the journal in 2004. Modifications w ill be considered based on the 

feedback of those present. We have had a wonderful response to the three workshops that were run 

throughout the year. 20 participants enjoyed the second Fast Fire Fibre Clay Sculpture Workshop with 

Steve Harrison. and Sallie Portnoy conducted two very successful glass casting workshops. 

These workshops were conducted at Gymea TAFE in Sutherland and I thank the Ceramics 

Department fo r providing such wonderful facilities to the society. 

The Society's biannual exhibition is to be held at Manly in 2005 and I am thrilled to announce that 

Barbara Campbell-Allen will be cu rating the exhibition Beyond Earth-Exploring the Plastic Umits of 

Clay. The Potters' Society website and directory continues to grow and remains an essential digital 

publication. The online email discussion list is a vital forum for discussion of ideas and dissemination 

of information. There are over 300 people registered on the list now with many international 

subscribers. 

My sincere thanks to all of the volunteers for their support throughout this year. the society could 

not survive without you. I have personally gained so much from my involvement with the society in 

my current position and I will continue to hold the presidency in 2004. 

My Best Wishes to all. 

Melissa Lees 

Nicole Lister gives a slide presentation at the Poners' Society Annual General Meeting. 

held at the Powerhouse Museum. 


4 PIA - SPRING/SUMMER 2003 

Clockwise from top leh: 

Petra Svoboda, Potato Series. 2003. 

handbuilt porcelain, braemar river slip. 

Photo Michel Brouet. First prize. Royal 

Easter Show: Kay AJliband, Chair Rug. 

mosaic. Ceramic Supply Company Award. 

Port Hacking Potters 42nd National Pottery 

Competition and Exhibition; Simon Lloyd, 

Hand Tools (2 from a collection of 5). vitrified 

porcelain . Photo: Terence Bogue. 

International Museum of Ceramics, Faenza. 

2003; Kaye Pemberton, Family. reduction 

fires porcelains with murini motifs. h.19cm 

(tallest). Photo: ANU Photography. Doug 

Alexander Award. Canberra Potters' Society 

Awards. 2003.

Clockwise from top len: 

Jill Chapman. Handbuill Piece, 2003. First prize. Terracotta Section, Pon Hacking 

Potters 42nd National Pottery Competition and Exhibition; Stephen Hudson, 

Dome. 4m x 2m x 2m (Installation). Silver Prize International Competition in 

Ceramics as Expression, 2nd World Ceramic Biennale 2003. Korea: Elizabeth 

Milgate, Three Construction . Rrst prize. Open Handformed and Sculpture 

Section. Port Hacking Potters 42nd National Pottery Competition and Exhibition; 

Mollie Bosworth. Unilitled. Cairns Potters Club Deborah Nunn Memorial Award. 

Melting Pot. 2003. 


Clockwise from top left : 

Pip McManus. The Poisoned Well (detail), 2001. ceramic 

intaglio. h.17crn. Craft Victoria. 2003; Joan Barrass, Ubang POl 

Drum. 2002, burnished terrasigillata, shellac resist. black fired. 

42cm. Watson Arts Centre. 2003; Gary Healey, lined. altered, 

limages bowl. nickel oxide. celadan. fired twice to cone 11, 

reduction to 1050· c. Photo: Terence Bogue; Large Platter 

(detail) from Recent ceramics by Lex Dickson at Robin Gibson 

Gallery. 2003. 


ClockwIse from top left: 

Jane Sawyer. FlUid Series - bowl. 2002. 14.5 x 45 x 46cm. 

Christine Abrahams Gallery, 2003. Photo : Terence Bogue; 

Louise Boscacci, Chemistry Set, 2003, Ceramic. perspex, 

trestle table. Newcastle Region Art Gallery, Contemporary 

Project Space, 2003. Pho10: Rodney Cones·Browne; Karen 

Smith. Cog. clay. metal. found objects. h. I BOcm. Bega 

Regional Art Gallery. 2003: Peter Rushforth. Blossom jar. 2003. 

Jun glaze, stoneware, Manly Art Gallery & Museum, 2003. 


GILLIAN MCCRACKEN 

Fifty years of Australian Ceramics 

The exhibition, Fifty Year.; of Australian Ceramics 

at the Newcastle Region Art Gallery, showcases a 

half century of Australian pottery and ceramics 

from the mid twentieth century. All the works in 

the exhibition have been selected from the 

extensive Newcastle collection to illustrate the 

long narrative of Australian pottery development 

over this period, and the many cultural traditions 

and attitudes that have been interpreted and reconfigured 

as an expressive contemporary 

Australian art form. 

In fact there is work in the collection by two 

potters, Anne Dangar and John Perceval. that 

pre-dates this period and which provides a 

valuable insight into the beginnings of an 

Australian attitude and aesthetic approach which 

has steadily matured into the breadth of practices 

we know today. These early practices were 

influenced by alternate social models. This 

attitude has continued to be a strong motivation 

in studio ceramic practice. 

The earliest work by Dangar was made at Moly 

Sabata commune in France in the early 1930s 

where she embraced the idealism and socialist 

theories of the community and the cubist style of 

Albert Gleizes. Perceval began potting with Arthur 

Boyd and Peter Herbst in 1944 and at this time 

pottery was accepted by many artists as fine art. 

Perceval, unlike Merric Boyd, with his indifference 

to technical or practical issues in his domestic 

ware, had an interest in glaze surfaces and 

design. His less well-known commercial studio 

practice, from which he endeavoured to make 

a living, demonstrates this. The tile-panel in the 

Newcastle collection, made in 1951, is an 

example of this commercial studio practice. 

The period following World War I I in Australia 

was one of great social upheaval and change and 

provided the impetus for returning service people, 

such as Peter Rushforth and Ivan McMeekin, to 

pursue an alternative career path - pottery. Others 

like Stanislav Halpern migrated to Australia from 


Pippin Drysdale. Constellation I, /I and 111, 1995. porcelain. platinum lustre glaze. 

Opposite page: Peter Travis. VemcalOvoid. 1969. earthenware. Purchased 1969. 

Europe to avoid the disaster of the war, and Les 

Blakebrough migrated in the years following the 

war. There was an optimistic desire for a change 

in the values of society summed up by 

Rushforth, There are values that transcend the 

activity of making objects, such as a search for 

beauty and the validity of one's work in relation 

to the community in which one lives." 

Ken Hood and Wanda Garnsey wrote in 

Australian Pottery in 1972, that the lack of an 

Australian ceramics tradition meant that during 

the development years, Australian potters of 

necessity looked to other countries with ceramic 

traditions, bringing a fusion of ideas and energy. 

This rich amalgam of meaning and processes 

has led to the diverse and dynamic practice as 

we understand it today. This dynamism has been 

the result of a particular characteristic of 

Australian potters - independence, so that the 

absorption of these many traditions has not been 

a bland adoption resulting in derivative work but 

rather a drawing on the origins and social 

relationships which are the ongoing strengths of 

traditions. Today's pottery and ceramic practices 

might be seen as continuing reinterpretations of 

many of these traditions within the context of the 

continuing and major social changes and 

attitudes in Australia. 

One of the most robust influences in the 

development of pottery in the post-war years 

was that of Japan, mediated through the 

relationship which had developed in Japan prior 

to 1920 between Shoji Hamada and Bernard 

Leach. A Potter's Book by Leach was published 

in 1940 and became a fundamental text for 

Australian potters, both for its technical 

information and its philosophical attitude to his 

practice. Leach's work developed as a melding 

of Japanese philosophy and tradition, and 

mediaeval English pottery with its honesty of 

form, material and function. His book was the 

catalyst for a major change in Australia from the 


Jeff Mlncham, Carved Eliptical vessel. 1997, earthenware. 

Presented in 1997. 

use of earthenware to stoneware clays, wood 

firing, research and experimentation with 

Australian clays, igneous rocks, wood ashes, 

feldspars and oxides. 

The exchange between Hamada and Leach 

and the fusion of Japanese and English pottery 

aesthetics and attitudes were embraced by 

potters in Australia, and the term 'studio pottery' 

came to be used, exemplified by both Bernard 

Leach and by William Straite Murray who 

considered pottery as a branch of fine art.'2 This 

term was quickly adopted by Australian potters 

to define contemporary practice. Works in the 

collection by Peter Rushforth, Harold Hughan and 

Col Levy were made during the 1960s, years 

when this influential aesthetic and philosophy 

was emerging as a major influence on Australian 

practice. Establishing a pottery in Beecroft, NSW 

in 1951, and at the same time becoming a 

teacher of ceramics at East Sydney Technical 

College (ESTC), Peter Rushforth played an 

important role in sustaining the exchange and 

the adoption of this attitude to studio practice. 

In 1964, he worked in Japan and established 

contacts with a number of leading potters whom 

he later encouraged to visit Sydney. The 

extensive Newcastle collection of Japanese 

ceramics includes works by many of these 

potters including Shoji Hamada, Kanjiro Kawai, 

Takeichi Kawai , Tatsuzo Shimaoka, Takeishi Inoue 

and Yu Fujiwara and in more recent years Hiroe 

Swen. Shigeo Shiga and Mitsuo Shoji. 

An important centre for Australian ceramic 

development was the Sturt Craft Centre at 

Mittagong NSW. In 1954 Ivan McMeekin 

established the Sturt pottery workshop and 

recruited student assistants including Gwyn John 

(later Hannsen Pigott) and Les Blakebrough. Sturt 

became a vital studio-based training production 

workshop and a centre for international 

exchange and residencies. In 1960 British potter 

John Chappell met Blakebrough and encouraged 

him to visit Japan. Chappell's works in the 

collection show a refinement of form and glaze 

and an elegance yet to be developed by 

Australian potters at that time. Blakebrough was 

Director of Sturt from 1964 to 1972 and 

seventeen pottery apprentices were trained 

during this time. An outstanding aspect of Sturt's 

influence on Australian ceramics has been its 

continued hosting of numerous visiting potters 

from all continents and particularly Britain, Asia, 

NZ and USA. 

During the late 60s and early 70s networks of 

potters were gradually forming as a means of 

exchange and support. Ivan McMeekin, Ivan 

England, Mollie Douglas and Peter Rushforth 

founded the Potters' Society of Australia, and its 

journal, Pottery in Australia, became an essential 

text for many self-taught potters and a vehicle for 

documenting Australian potters and their work. 

Although the Hamada Leach traditions 

appeared to be so dominant. there was a 

determination by some potters to shake off this 

dominant aesthetic. The Bauhaus concerns of 

'form following function' had a global influence 

and modernist form was stripped of 'nonessential' 

decoration. Design courses were 

introduced into a few Australian art schools by 

the mid 1950s and inevitably influenced ceramics. 

The works by Mollie Douglas and Peter Travis 

show strong design qualities. Derek Smith, 

migrating from England to Australia in 1956, had 

a similarly disciplined design emphasis in his 


work. In 1973 he established a pottery in Sydney 

for Royal Doulton to produce domestic ware and 

one-off pieces. A marked departure in his 

domestic ware, that gave impetus to a quite 

different aesthetic, were dry, matt glazes 

particularly cobaltliron glazes. This led to a 

trend in many studio production lines. 

However, the pursuit of traditional Asian 

glazes using Australian materials and traditional 

stoneware firings has continued to be a major 

aesthetic for many potters represented in the 

Newcastle collection including Reg Preston, 

Harold Hughan, Col Levy, Peter Rushforth and 

Gwyn Hanssen Pigott. Others like Greg Daly, 

Bryan Trueman and Les Blakebrough extend the 

potential of these glazes experimenting with their 

interaction with dry glazes and mUltiple layers. 

Marea Gazzard also had a design background 

when she began studying ceramics with 

Rushforth and Douglas at ESTC in the early 

1950s. She was influenced by the hand-building 

techniques of Ruth Duckworth and the form and 

scale of Grecian and Etruscan pots. She 

persistently argued for interaction and crossfertilisation 

between art forms, rejecting 

conventional art and craft boundaries. This was 

a position strongly supported by leading potters 

of the time as the art/craft debate increasingly 

marginalised craft from contemporary art 

practice. Post-modern art development 

presented itself as the antithesis of craft 

processes although there was a lot of common 

ground in the impetus to confront and debate 

contemporary social issues through art and craft 

practice. However at this stage the expressive 

languages of each practice were perceived as 

oppositional, 

As well as sound design principles, Peter 

Travis injected a sense of adventure to the 

construction of hand-built ceramic forms using 

clay itself as decorative elements rather than 

applying surface decoration. He visited USA and 

England in 1969-71 and was enthusiastic about 

the experimental art environment and the 

exploitation of crafts media as an art language in 

the USA, as clay was challenged to achieve an 

abstract language of expression freeing the 

potter from the 'object'. The ceramic practices 

Mitsuo Shoji. Universal Thought-Man. 1980. burnished blackware. imiitatlon gold and silver leaf. graphite. Purchased 1981. 


emerging in California in the late 60s and early 

70s were initially a response to American abstract 

expressionism. Eventually European surrealist 

parody of tradition through the ironic, the absurd, 

and the critique of the everyday from artists such 

as Duchamp, emerged in the USA as 'Funk' and 

in Australia became an energising influence on 

ceramics. Contemporary debate, including 

feminist voices influenced many practices at this 

time. Rejection of traditional ceramic values 

included the glazed surface. Underfired glazes, 

low temperature underglazes and body stains, 

and even house paint were widely used. 

This was also a period of intense 

experimentation with many ceramic traditions : 

majolica, tin glazes, lustre ware, Middle Eastern 

form, intense surface decoration, inlay and 

slipware, for instance, seen through the works of 

Alan Peascod, Victoria Howlett, Sony Manning 

and Jeff Mincham. Interestingly there appears 

to have been little interest in the experimental 

ceramic movement in Japan, Sodeisha, founded 

by Kazuo Yagi, Osamu Suzuki and Hikaru Yamada 

in 1948. Sodeisha injected a new way of thinking 

about clay: rather than the influence of shape and 

spirit, they (founders) were seeking action more 

than a way of thinking; 'action that would link 

more directly and firmly the process called 

pottery with our own spirit'3. That is a personal 

expression through clay. This was 'new liberated 

work unrestrained by current ceramic art 

concepts (and) was probably (in response to) the 

trends in art and design that suddenly began 

flowing in from abroad'4 However, initially, skill, 

technique and intimate knowledge of their 

materials were paramount in the success of their 

work. Mitsuo Shoji, who trained with the 

Sodeisha group, arrived in Australia in 1973 and 

was instrumental in bringing an understanding of 

this important craft movement to Australia. In 

1979 the exhibition Sodeisha : avant-garde 

Japanese ceramics toured to Australia and the 

collection of works remained in Australia 

becoming an important component of the 

Newcastle collection. 

By the 1970s. every major art school had 

ceramics courses and influences from every 

continent and tradition were explored, and fused 

into a vigorous, investigative practice. Selfsustaining 

studio practices became common 

and the market for ceramics grew. International 

potters continued to visit Australia and Australian 

potters travelled overseas and became 

internationally recognised, Funding through the 

Crafts Board of the Australia Council fuelled 

individual development and travel, and supported 

international tours of Australian work. By the end 

of the 80s, individual potters were beginning to 

receive high prices for their work but it was clear 

that it was to become increaSingly difficult to 

survive from full time studio practice. Ceramic 

courses were decreasing and in the 90s many 

were amalgamated with sculpture departments. 

Sales dropped as well-designed and cheap 

imported domestic ware became more 

,readily available. 

Marea Gazzard. Umtitled, earthenware. Presented in 2003. 


Practice was very diverse - studio production 

ware was still being made and some potters 

moved into small commercial production as 

collaborations between craft practice and 

manufacturing were sought. Conceptual 

installation and sculptural ceramic work, was 

increasingly made no doubt as a result of closer 

interaction with sculpture in art schools and the 

preparedness of commercial art galleries to sell 

this work. But also as a desire to participate in 

the critical and interrogative contemporary art 

environment. Less well understood were the 

ceramic practices which continued to work 

within the historical trajectory of ceramic 

aesthetics. Although individual ceramic 

collections were increasing, a small number 

of major potters were nationally acknowledged 

and the resale value of contemporary ceramics 

was increasing. 

The twenty first century ushers in a renewed 

energy as conceptual work is more confident, 

as it exploits the strengths of ceramic aesthetics 

and its own history of expression. Works in the 

Newcastle collection by Pippin Drysdale and 

Louise Boscacci exemplify this confidence, and 

the still life groupings of Gwyn Hanssen Pigott 

are an unapologetic celebration of the power of 

ceramics to transform space and to transport the 

viewer. This has become a popular form of 

installation in its effective animation of space and 

evocation of relationship. It has also found 

acceptance by art galleries who once again see 

an affinity between pottery and other fine arts. 

Yet another body of potters are returning to the 

table, to vessels, to critique and describe our 

small ceremonies. Working with cast bone china, 

limoges porcelain and earthenware with coloured 

underglazes, they read our culture through the 

contemporary table both the contemplative and 

the disposable. 

Maybe it is too soon to speculate a revival of 

the heady years but there is no doubt that these 

new energies have provided a newly invigorated 

and insistent voice for ceramics within the larger 

contemporary art environment. 

Mollie Douglas, Dark Brown Storage Jar. stoneware, syenite 

glaze. Presented in 1970. 

References 

1. Grace Cochrane. The Crafts M ovement in Australia: a history, 

NSW University of Press, 1992. pl 54 

2. Ibid 

3. Yoshia ki Inui. catalogue essay, SODEISHA : avant-garde 

Japanese ceramics. Australian Gallery Director Council. 1979 

4. Ibid 

ThIS is an abridged version of the catalogue essay 50 years of 

Australian Ceramics. 

The exhibition 50 years of Australian Ceramics will be held at 

the Newcastle Region Art Gallery 29 November 2003 ·8 

FebrualY 2004. 

Photos: Allan Chawner 


NARELLE SYMES 

Gvvyn Hanssen Pigott, Trail with blue cup, 2003. woodfired porcelain. 8 pieces. Collection of the artist. 

Courtesy Christine Abrahams Gallery, M elbourne . 

Two streams of collecting at the Shepparton Art Gallery 

Introduction 

The exhibition Changing Surfaces began as an attempt to explore the connections between two 

streams of collecting at the Shepparton Art Gallery: the history of Australian ceramics and two 

dimensional works by Australian artists. The gallery houses one of Australia's leading collections of 

ceramics, mapping the history of the craft from convict days, through early commercial production to 

contemporary ceramists. Alongside this, the gallery holds a significant number of paintings and 

drawings by leading Australian artists. The co-existence of these two, often quite separate collecting 

streams, has frequently highlighted interesting connections in the 'art' and 'craft· worlds. 

The Art of the Wheel and the Colour Laden Brush 

'The question arises whether we made pottery purely as a livelihood, regretting that we could not 

paint or philosophise all the time. It must be admitted that there were times when we wished we had 

not been committed to the strict routine which the pottery imposed. But the truth is that we loved the 

pottery. We knew that we were making pots that were out of the ordinary, that we had a distinct style 

and technique. We certainly did not skimp our work of creative energy. and we did our best to 

produce a true synthesis between the art of the wheel and that of the colour laden brush." 

When Peter Herbst joined forces with Arthur Boyd and John Perceval to commence the production 

of pots at Arthur Merrie Boyd Pottery (AMBP) in the 1940s. they created a remarkable and stimulating 

centre for artistic expression. In one of the most significant artistic communities in the history of the 

Melbourne art scene, painters who had been raised amongst the world of clay and kilns worked 

14 PIA - SPRING/SUMM ER 2003

Fiona Hiscock. Poppy 

Vessel. 2003. glazed 

earthenware. 24 x 27cm. 

Collection of the artist. 

Courtesy Christine 

Abrahams GaileI)'. 

Melbourne. 


together to create pots which were lively, 

expressive and often traced with humour. It was 

a commercial enterprise which encouraged 

artistic expression, and where the painterly 

styles of the artists shone through their work, 

producing innovative functional ware for 

commercial purposes and exploring the themes 

of their art in clay. 

Arthur Boyd's Platter (1960) evokes imagery 

that both parallels and complements his 

paintings and drawings. Boyd saw the ceramic 

as an extension of the canvas, often chOOSing 

to work in large open bowls, platters and tiles. 

Using brushwork that was both fluid and 

expressive, the platter depicts an angel 

copulating with a fawn as a metaphor for the 

creative act. 2 

In keeping with the communal approach of 

AMBP. John Perceval was often making forms 

that would be decorated by resident and visiting 

artists. A prolific thrower, he made a wide variety 

of quality works but by far the most significant 

development was the refinement of the sang-deboeuf 

glaze and the remarkable angel series. 

First shown at the Museum of Modern Art in 

Melbourne in 1958, the angels are in tum 

mischievous and angelic. Accentuated by the 

lustrous glaze (blood red in colour) and 

expressive faces, the angel series deal with the 

foibles of mankind, teetering between the 

frightening and adorable. 

Though many artists, like those at AMBP. work 

in a variety of materials, it is still the traditional 

Fine Arts medium of painting which is given the 

higher theoretical attention and certainly the 

highest financial return. At a recent national 

ceramic conference Justin Clements (Lecturer, 

Faculty of Arts, Deakin University, Geelong 

Campus) discussed the perception of the 

'craftsman' and the 'artist' by society. His paper 

explored the paradoxical fate of the ceramic 

artist, who (along with many others working 

from craft traditions) sits between the world of 

~ine art' and that of 'industrial art'. Though the 

struggle remains to breakdown these aesthetic 

hierarchies amongst some critics and audiences, 

artists continue to cross over these boundaries 

with their work.3 

Both Stephen Benwell and Fiona Hiscock 

commenced their arts education away from 

pottery. Benwell was practising painting at the 

Victorian College of the Arts, and Hiscock 

studying Fine Arts at Melbourne University 

before their training commenced in ceramics. 

For both, the form of the vessel has evolved 

alongside a love of the decorated surface, and 

the appearance of functionality in their vessels 

becomes a useful vehicle for constructing a 

dialogue with the viewer. 

Stacha Halpern regarded pottery and painting 

as extremely close medium and often explored 

his themes in both media. During the 1930s he 

was one of many immigrants who were 

important exponents of contemporary European 

art movements and his ceramics had a particular 

impact in Melbourne in the 1940s. In the 

painting Carcass, a recurring motif in Halpern's 

work, the rawness of the flesh is echoed in the 

rawness of the paint. Though his ceramics may 

appear delightfully whimsical in response 

(Halpern often chOOSing to explore his 

connections with folk art and memories of 

ch ildhood in clay) the vibrant works still resound 

with energy. The clay animals pushed into shape 

by eager hands and crying out to be played with, 

are as engaging as his powerful paintings. 

This emotional drama and energy is reflected 

in the work of Robbie Harmsworth who, by 

etching into the surface of the clay, brings the 

characters of her story to life. For many artists 

the marking of clay and the three dimensional 

form provides a new way to read their work. 

Decorating the surface in much the same way 

as the canvas, Fred Williams and Jan Sen bergs 

(among many others) transferred their drawn line 

to clay. On pots turned by Tom Sanders, they 

allow the unpredictability of glaze and the firing 

process to transform their work. 

Painters, Thornton Walker and Crispin 

Akerman, use the ceramic vessel in a more 

16 PIA - WINTER 2003

Above left: Fred Williams, Platter, 1967 (poner Tom Sanders); Fred Williams. Untitled. lithograph on paper. Above right: 

Arthur Boyd, Platter, c. 1952, glazed stoneware, 7 x 53cm; John Perceval. Delinquent Angel. 1961 . glazed stoneware, 25.3 x 

20.3 x 19cm. All works from Shepparton Art Gallery Collection. 

subtle way. Practising in the traditional genre 

of still life the bowl is a common element, yet 

both artists use this simple and humble object 

as a conduit to personal reflection and 

contemplation. Walker's emotional balance 

between the delicacy of a simple bowl and a 

vigorous background and Akerman's restrained 

and composed still lifes, provide a breathing 

space from the unpredictability of life, both 

engaging the viewer and delighting the senses. 

The concept of the 'still life' and the 

contemplative qualities of the simple ceramic 

bowl are also explored by ceramic artist, Gwyn 

Hanssen Pigott. Inspired by the relationships 

between colour, depth and space within a still 

life painting or drawing and deeply connected to 

the simple beauty of the ceramic vessel, Pigott 

created a clever connection between the two. 

Working with this contained subject matter, she 

quietly and intuitively extends and hones the 

possibilities of our perception, responding to the 

earthiness of the clay and the controlled 

aesthetic of the still life. 

Even in the confines of this exhibition we can 

see an ongoing relationship between painting 

and ceramics. There are various similarities 

between these diverse media including subject 

matter, palette and the use of expressive line. 

Whilst ceramics is seen by some as a poor 

second cousin to painting and drawing, the 

nature of the medium and the sometimes 

unpredictable firing process can add an 

unexpected and often exciting element to the 

works. As this exhibition has shown, artists are 

not always limited to a single medium and the 

relationship between these changing surfaces is 

worthy of further examination. 

References 

1. Edwards. Geoffrey. The Painter as Poner: Decorated Ceramics 

af the Murrumbeena Circle. 1983. National Gallery of Victoria 

(catalogue), p.B. 

2. Pascoe, Joseph (Ed .), Delinquent Angel: Australian Historical, 

Aboflgmal and Contemporary CeramiCS, 1995. Centro OJ, Italy 

(catalogue), p.20. 

3. Ignition: Tradition to Contempolary , 10th Australian National 

Ceramics Conference. Bendigo, 13 ~ 16 April 2003. Keynote 

speaker. Justin Clemens, Preliminary Notes Towards a History of 

M odem Ceramics. VCG Incorporated. 

Narelle Symes was the curator at the 

Shepparton Art Gallery (2002-2003), and 

commenced a postion at the Victorian Arts 

Centre in November this year. 

PIA - SPRING/SUMMER 2003 t7

SASHA GRISH IN 

Garry Shead and Lino 

Alvarez at La Paloma 

Pottery. Hill End. NSW 

Photo: S. Grishin. 

Garry Shead & Lino Alvarez: a collaborative project 

Garry Shead is one of Australia's most highly 

acclaimed lyrical figurative painters and while 

critics have taken notice of his work since his 

early exhibitions in the 1960s, it has been only in 

the last couple of decades that his work has 

achieved national prominence. 1 His series of 

paintings dealing with D.H. Lawrence and 

another with the Queen's visit to Australia in 

1954, the Royal Suite, have become iconic in 

Australian visual culture and have commanded 

record prices on the Australian art market. 

Lino Alvarez is a Mexican ceramist from 

Sonora, who in the 1970s train ed in Sonora and 

then San Diego and who settled in Australia in 

1981 . Six years ago, he and his partner, the 

actress and singer Kim Deacon. moved to the 

old gold-mining town Hill End where they 

converted a 19th century historic property into 

the La Paloma Pottery2 

Shead arrived at Hill End on a residency in one 

of the historic art cottages administered by the 

Bathurst Regional Gallery and the two artists 

met.3 While this may be an account of some of 

the details and logistics which brought the two 

artists together, the circumstances behind their 

collaborative project were far more complicated 

and unusual. 

Ever since the 1960s, Shead has been 

fascinated by an anthology of poems known in 

Australian literary history as the Darkening 

Ecliptic by a certain Ern Malley. The poems were 

initially published in the avant-garde literary 

journal. Angry Penguins , in 1944 and shortly after 

that two frustrated poets, James McAuley and 

Harold Stewart, who had difficulty in getting their 

own verse published, announced in the press 

that they had invented the identity of Ernst Lalor 

Malley and had assembled the poems from 


Garry Shead's Ern Malley ceramics, La Paloma Ponery, Hill End. All works thrown and tired by Uno Alvarez. Photo. Kim Deacon. 

miscellaneous sources as an example of bad 

verse. It was intended as a hoax designed to 

expose the pretentious shallowness of the socalled 

literary avant-garde. 4 The matter did not 

end there for despite the exploding controversy, 

media hype, petty vitriol and litigation, many of 

the sixteen poems were generally acknowledged 

both here and overseas to be of such a high 

literary merit, that the circumstances of their 

creation became irrelevant. For example, the 

editors of the Penguin Book of Modern Australian 

Poetry (1992) chose to include all of the Ern 

Malley poems in the anthology and Harold 

Stewart, with more than a note of bitter irony, 

noted almost on his death bed "one day it will be 

irrefutably proved that James McAuley and 

Harold Stewart were really figments of the 

imagination of the real-life Ern Malley and in fact 

never existed!".5 lt was certainly a case of the 

creation being greater than its creators and the 

Ern Malley poems have inspired the paintings of 

Sidney Nolan and the novels of Ian Kennedy 

Williams (1990) and Peter Carey (2003). 

While Shead initially flirted with the idea of Ern 

Malley's Darkening Ecliptic as a theme in his art 

in the 1960s, it was only in about 2000 that it 

became a major obsession in his work. Although 

he has often turned to literature as a source of 

inspiration, with Lawrence's novel Kangaroo the 

most famous example, Shead's work is never 

illustrative of a literary work, for him homage to 

an author is a parallel act of creation, in Henry 

Miller's famous aphorism, it is up to the artist to 

prove "that one has caught the flame he tried to 

pass on" .6 The paintings, drawings, etchings and 

ceramics which form the Ern Malley cycle are a 

-wonderful lyrical exploration of not only the 

poems of Ern Malley, but also of the whole idea 


Left: Garry Shead at La Paloma Pottery. Photo; S. Grishin. Right : Photo: Kim Deacon. 

ceram ic sculpture. All works th rown and fired by Lino Alva rez . Photo ; Kim Deacon. 

of Ern Malley. the image of the creative individual 

and of his precarious journey through a 

materialistic world. 

Shead commenced his collaboration with 

Alvarez in 2003 at La Paloma Pottery in Hill End. 

Although Shead is an artist who has worked in 

numerous mediums. as well as painting. drawing 

and printmaking. where he has an established 

national and international reputation in each 

medium. he has also worked as a film maker. 

photographer. muralist. cartoonist and scene 

painter. However. this was his first venture into 

ceramics. In Shead's practice a medium is not 

compartmentalised. but is treated as part of a 

fluid process where the artist moves freely from 

one form into a different one. frequently 

transferring solutions discovered in one medium 

into another. As he noted: "The Ern Malley 

theme seemed to call for a move into three- 

dimensional ceramics and many of the 

breakthroughs in thinking there fed directly 

back into my paintings" 7 

One of the difficulties which became 

immediately apparent from the outset of this 

collaborative process was that Shead had little 

idea of how to technically achieve what he 

wanted to say in three dimensional ceramics. 

While he was quite used to collaborating with 

the master printer Basil Hall on his etchings. 

there the case was different. as Shead himself 

was a trained printmaker. in ceramics he was a 

novice and his dependence on his collaborator 

was greater. Alvarez. on the other hand. is a 

master potter who had collaborated with a 

number of other artists in Australia. including the 

Aboriginal artists Thancoupie. Gordon Hookey 

and Jo Hirst. Shead from the start proved an 

awkward collaborator. he simply did not want to 


paint the pots which Alvarez had made for him, 

The idea, perhaps not fully resolved in his own 

mind, was for the whole shape and structure of 

the vessel to reflect his artistic concept. The first 

series of pots that Alvarez had thrown for him, 

while quite beautiful in their own right as 

objects, upon being painted and glazed, Shead 

deemed them as unsatisfactory and not in 

keeping with his Muse. On completion, the 

whole series was smashed to pieces with 

the process accompanied by a ritualistic 

cleansing ceremony. 

In the subsequent work, Alvarez prepared the 

clay and threw and built the vessel to Shead's 

specifications, which Shead then proceeded to 

model, shape and decorate. In many ways they 

appear like mutant ceramic pieces, with quite a 

number of them more than a metre in height, 

with transitions from flat to highly sculptural 

surfaces, with the insides of the vessels as 

critically important as the outside surfaces. After 

Shead's manipulation of the vessels, Alvarez 

fired the ceramics, which Shead then painted or 

waxed, or to which he applied glazes for further 

firing. Shead noted in his journal: "In Picasso's 

pottery the idea that the pot is at once a 

sculpture and at the same time a pot - and 

painting complicates either reading - is a result 

of the notion of transformation and the desire to 

produce art whose power resides in that 

ambiguity. The idea of creatures or objects with 

dual nature was fundamental for Surrealists, and 

they saw their ambiguity as eliciting disturbing or 

repressed psychological or sexual associations".8 

These collaborative three dimensional 

ceramics are strange and unconventional, at 

times brutal and confronting, weeping from 

gashes like festering wounds, at times 

wonderfully lyrical. Forms and faces struggle 

to break free from the clay to create an existence 

in three dimensional space, like an image 

fighting for its autonomy within the sea of 

matter. The inside of the vessel at times, 

compositionally and decoratively, becomes as 

significant as its outside form, In these ceramics 

there is an organic fluidity, a kinetic quality, so 

that as you move around the vessel, the image 

unfolds and adopts a life of its own, The words 

of Ern Malley frequently appear incised into the 

surface of some of the vessels, and as with the 

lyrics, there is apparent that conflict between the 

trembling timidity, the desire to define an 

existence, and the brutality of being, As Ern 

Malley wrote in Sweet William: 

My blood becomes a Damaged Man 

Most like your Albion; 

And I must go with stone feet 

Down the staircase of flesh 

To where in a shuddering embrace 

My toppling opposites commit 

The obscene, the unforgivable rape 

One moment of daylight let me have 

Uke a white arm thrust 

Out of the dark and self-denying wave. 


In quite a number of the ceramic pieces the 

desire to break out into a moment of daylight, 

out of the dark self-denying wave, is almost 

palpable in its expression. It is a desire to break 

the boundaries of the ceramic shell and the 

straitjacket of flatness of the surface and to 

break the rules which circumscribe conventional 

ceramics. In terms of their formal structure, 

these ceramic vessels constantly engage with 

this idea of thrusting out of the darkness of the 

interior into the moment of daylight of the 

exterior form. 

These collaborative works are very 

unconventional ceramic pieces, neither 

belonging to the tradition of pop "funk 

ceramics", nor to the tradition of collaborative 

decorated pots and plates created by potters 

working with painters. They find more of a 

kindred spirit with the work of the Murrumbeena 

potters and John Perceval's mischievous angels 9 , 

where beautiful and sensuous three dimensional 

objects are created which celebrate the spirit. 

Although Shead has been known to refer to 

these collaborative creations as "Ern's urns"lO, 

the pun somewhat belittles the conception. Alas, 

this verbal play was not lost on McAuley and 

Stewart, and Stewart was known to lament the 

existence of The Darkening Ecliptic as "the 

Unburiable urn".l1 

As a collaborator, Alvarez has played the role 

of the highly trained and very skilled midwife 

helping to give birth to Shead's bewilderingly 

complex and multifaceted offspring. While Shead 

to a large extent may have set the artistic 

agenda, Alvarez at every point in the process 

has presented the artist with suggested technical 

options through which to rea lise the evolving 

artistic agenda. 

The Ern Malley ceramic vessels make up a 

complex body of work in which Australia's most 

controversial poet struggles to proclaim his 

autonomous existence. Ern Malley, a shy and 

retiring figure, sometimes appears like a modern 

day St Francis preaching to the Australian 

magpies, but often he is shown constantly in 

pursuit of his Muse, who may be interpreted as 

his ladylove, a phantom bride and as the source 

of all inspiration. As a collaborative process 

between a potter and a painter, th is marks an 

unique achievement. 

Professor Sasha Grishin 

Australian National University, Canberra. 

References 

1. For a comprehensive discussion of Garry Shead's work see 

5a5ha Grishin, Garry Shead and the erotic Muse, Craftsman 

House. Sydney 2001 

2. See Trisha Dean, "The road to Hill End : La PaJoma Pottery in 

central west, NSW", Pottery in Australia, vol 41/2 (Winter 2002). 

pp.7·9 

3. On Hill End see Gavin Wilson. The artists of Hill End, Beagle 

Press and Aft Gallery NSW, Sydney 1995 and Alan Mayne, HifJ 

End: An historic Australia goldfields landscape. Melbourne 

University Press, Melbourne 2003 

4. Michael Heyward, The Ern Malley affair, University of 

Queensland Press. Brisbane 1993 

5. Stewart in a letter to Milton Moon. 20 February 1995 quoted in 

Michael Ackland, Damaged men: The precarious lives of James 

McAuley and Harold Stewan, Allen and Unwin, Crows Nest. 

Sydney 2001. p. 4 

6. Sasha Grishin. Garry Shead: The D,H. Lawrence paintings. 

Gordon and Breach Arts International Basel 1993, p. 120 

7> Garry Shead. interview with the author. 12th July 2003, Hill End, 

NSW. 

8. Garry Shead, Malley Book IV. 2003. entry March 2003, 

manuscript. no pagination 

9. Patricia Dobrez and Peter Herbst. The an of the Boyds: 

Generations of artistic aChievement, Bay Books, Sydney [1990}. 

pp.fl9-103. 198-202 

10. Garry Shead, letter to the author. 21 July 2003 

11 . Ackland, op.cit. p. 82 

22 PIA · SPRING/SUMMER 2003

LU CY BUTIENSHAW 

Wendy Sharpe and Janna 

Ferris. Too Many Nipples, 

underglazes and coloured slips, 

h.43 x w.46cm. 

An interview with artist Lucy Buttenshaw 

Artist Lucy Buttenshaw speaks to Janna Ferris 

(potter) a nd Wendy Sharpe (painter) over 

breakfast in Janna's studio in Erskineville in 

Sydney's Inner West. 

Lucy: I enjoyed your exhibition of 

collaborative ceramics at Chapman Gallery in 

Canberra a couple of years ago, How did you 

come to work together? 

Wendy: We've been friends for a long time and 

used to share a house. We've had various ideas 

about working collaboratively but it's only in the 

last couple of years we've thought of exhibiting 

a body of work. We have been able to see the 

changes and developments in each other's work 

which made it easier to empathise and 

communicate. It was really enjoyable spending 

days at Janna's studio working and swapping 

ideas. We have similar tastes in many things. 

Lucy: Janna, What consideration did you 

have to make while designing ceramic pieces 

for Wendy to paint? 

Janna : I wanted to give Wendy the opportunity 

to try different surface treatments - for example 

working with wet or dry surfaces, carving or 

sgraffito and adding to the surface. It was 

important to find out what best suited her ideas 

and methods of working. Firstly I thought about 

flat surfaces for pictures such as plates, then we 

tried vases, jugs and later we worked on more 

relief pieces. 

Lucy: Janna, what particular materials did you 

work with for this collaboration? 

Janna : As Wendy uses a lot of colour, I thought 

we could include underglazes, coloured slips, 

enamels, lustres, and maybe try to approximate 

in ceramics what Wendy does with paint. 

Lucy : Wendy, did you find the materials similar 

to what you usually work w ith or was it a 

difficult transition? 

Wendy: Janna introduced me to ceramic pencils 

and crayons. I was fascinated that the effect 

when fired is so like charcoal and artist crayons, 

its amazing. The drawing on the plate, it's me 

and Janna in the studio, ceramic pencil and 

crayon looks like a cha rcoal drawing. There's the 

same spontaneity and gesture. I find it possible 

PIA · SPRING/SUMMER 2003 23

to do almost anything with ceramics you can do 

with painting and drawing materials. It's always 

exciting to work in another medium because it 

can give insight into what you're doing, and 

make you think about it in a different way. 

Lucy : Wendy, did you find any limitations? 

Wendy: It's best not to try and impose 

restrictions on yourself, thinking you probably 

can't do this or that. but to come up with an idea 

and then find out if it is possible. The diversity of 

Janna's work is so inspirational that I realised we 

could do almost anything. 

Lucy: Janna, some of your recent work 

involves ra ised decoration, and it is interesting to 

see a number of collaborative pieces using this. 

Janna : In recent years I have been casting lots 

of fruit, vegetables and other assorted material to 

add as applied decoration to my own work. My 

patterns and ornaments are fairly orderly and 

precise. Wendy commented that the cast figs I 

was applying to one of my plates looked like 

nipples, so we cast a real nipple and used it as 

a repeated decorative border for the platter Too 

Many Nipples, when Wendy started adding to a 

surface with clay, I loved her lively and 

spontaneous approach. It was inspirational 

and something to aspire to in my own work. 

Lucy: Wendy, how did you find working on 

circular shapes and on objects in the round? 

Wendy: It was an interesting challenge to adapt 

images onto three dimensional objects. I needed 

to consider the whole form rather than imposing 

something on it that may have been designed 

for a two dimensional surface. When you are 

working in the round the image can be 

continuous rather than confined by a frame 

but basically I'll paint on anything. 

Lucy: Janna, what did you gain from this 

collaboration? 

Janna : I was taught the skill of making pottery 

at a time when there seemed to be a rigid set 

of ideas about how you approach ceramics. 

Working with Wendy made me realise what I'd 

always suspected, that there are no rules. Wendy 

sees things I don't. Under her influence, I feel I 

have learnt to see more, or take more in. 

Lucy: Wendy, did you look at the work of 

other painters who have worked with clay? 

Wendy: Janna and I stayed at the Cite 

International des Arts in Paris a few years ago 

We went to the Picasso Museum and looked at 

the ceramics. We also saw wonderful ceramics 

in Turkey. I think Chagall's ceramics are great too. 

There are quite a few others but you don't see 

that much. It is not well documented. It is 

something that many painters are interested 

to explore. 

Lucy : Do you intend to work collaboratively 

in the future? 

Janna : Yes, possibly including some sculptural 

objects. 

Wendy: I find it extraordinary that a drawing on 

a pot would sell for a fraction of the price of the 

same drawing on paper, but it is such fun 

working together. I can't wait to do some more. 

Photos: Michel Brouet 


Clockwise from top: Wendy Sharpe and Janna Ferris, Artists Mode/vase,(left), h.28cm and The 

Embrace vase (right), h.27cm, underglazes and transparent glaze: Man, Woman and Anima/s plate, 

d.27cm, underglaze and transparent glaze; Pregnant woman with man, ceramic pencils and 

crayons, underglazes and transparent glazes, d 26cm. Facing page: Woman with animals and man 

crawling away; underglazes and coloured slips, d.27cm. 


JOHN FERGUSON 

DAVID BROMLEY 

David Bromley 

After years of searching for a creative 

framework for my life. I made a full time 

commitment to making art in about 1985. I had 

some pottery lessons in Buderim. Queensland. 

and found that using clay as a medium was 

something I could become quite obsessed with. 

Even though I moved to painting with oils on 

canvas a few years later when I realised it was 

far more suited to my temperament. I still look 

to clay as the medium that introduced me to 

making art as a way of life. 

I thoroughly enjoyed my time as a potter and 

I made dozens of pieces every week for years. 

selling my work at a market in Eumundi in 

Queensland. Towards the end of my pottery 

years I collaborated with Rowley Drysdale in 

Cooroy. I subsequently came to realise that he 

was truly a potter and I was more suited to being 

a painter. I decorated his pots which were far 

more evolved than my own forms. and 

thoroughly enjoyed working on such superb 

shapes. My attempts at making pottery were 

driven by enthusiasm rather than ability or 

knowledge. My initial forays into painting were 

driven by similar energies. I hope I have 

transcended my naive beginnings to some 

degree. and can thus apply myself to my 

painting with a greater knowledge base and 

understanding of my chosen medium. 

When I wanted to spend some time working 

with pots again and to enjoy having clay in the 

studio I thought it best to make contact with 

someone who had a great ability to make the 

sort of forms that could lift the pieces beyond 

what I was capable of throwing myself. Hence 

in collaboration we could come to understand 

which forms best suited our desired outcome. 

I put an ad in the paper and John Ferguson 

answered it. After about a year of working 

together John threw pots for five visiting artists 

to my studio from interstate. the resultant pieces 

of which formed an exhibition that was shown in 

both Brisbane and Sydney. The five featured 

artists were Dean Bowen. David Band. Maureen 

Hansen. Melinda Harper and Angus McDonald. 

John Ferguson 

Clay has always been an important part of 

my life. having trained some 25 years ago as a 

production thrower. Gaining the basic skills. I 

travelled around Australia and overseas making 

pots in potteries as well as alongside potters in 

their studios. In recent years the demand for 

thrown work has diminished. giving me the 

opportunity to explore saggar firing as well as 

branch out into terracotta and make human-sized 

sculptures. Always looking for new opportunities 

and challenges. I responded to a rare 

advertisement which appeared in the local paper 

'Potter required to make large pots. Please send 

application to .. .'. Little did I know what the future 


Facing page: David Bromley in his studio. Above: David Bromley, Boy sefl8S, white slip on terracotta with ceramic crayon, 

wheel thrown by John Ferguson. h.30cm. 

would hold. Upon meeting David for the first 

time, I was pleased to see displayed around 

his studio groupings of Cretan amphorae and 

storage jars. I developed a sense that David had 

a strong appreciation of clay and form. This was 

later confirmed when I found out that David 

himself had been a potter. Knowing of David's 

clay background, I felt that his expectation of 

what could be thrown was more rea listic. 

Explaining to a non-potter the limitation and 

capabilities of clay can be a difficult exercise. 

Discussion moved onto claybody choice ... What 

were the requirements of the body? David stated 

that he wanted to work with texture and so 

Bennett's unfiltered terracotta local clay was 

the obvious choice. As time progressed, ideas 

changed and forms altered. I showed David the 

book Potters in Parallel which explores the work 

of Lucie Rie and Hans Coper. David was drawn 

to the angular bottles and the barrel shaped 

vases of Hans Coper. These forms were slightly 

modified to suit the thrower'S capabilities and 

grew in size from 6 to 20 pounds. Two years 

have passed since I responded to the 

advertisement. Horizons have been broadened, 

strong friendships have developed and I've had 

great fun in making the clay canvases for David 

to paint. 

PIA - SPRING/SU MM ER 2003 27

across t 

VICTOR GREENAWAY 

An Australian Italian exchange 

The Italo-Australian collaboration between 

myself and maiolica artist. Marino Moretti began 

early in 1999 when we were jointly awarded a 

fellowship by the International Specialist Skills 

(ISS) Institute in Victoria. The fellowship provided 

a rare opportunity for both of us to further our 

individual skills and to gain an insight into each 

other's cultural heritage. 

Part of my heritage is evident in the w heelthrown 

forms arising from the traditional folk-art 

or mingei cultures of Western and Japanese 

ceramics transformed into what is now widely 

recognized as a particularly Australian idiom, 

whereas, Marino, more painter than potter, 

reflects a rich cultural heritage in his skilful and 

imaginative, modern interpretation of the great 

Italian maiolica artisans. From these diverse 

backgrounds comes a realm of experience and 

innovation that lends itself beautifully to the type 

of cultural exchange and interchange at the heart 

of the project. 

The body of work that followed this initial 

collaboration formed the basis of a joint exhibition 

entitled Incontr; d 'oltre Oceano (Encounters across 

the Oceans) which was hosted in Melbourne by 

Makers Mark Gallery. This exhibition was opened 

by Sir James Gobbo who was at that time 

Governor of the State of Victoria and Founder 

of the ISS Institute. 

Once in Italy, I was faced with the challenge 

of transposing my forms and skills into what. for 

me, was a foreign medium, the red terracotta of 

the Paglia River Valley. Again, I produced large 

forms for Marino to w ork with, collaborating at 

every level to reach the final result. Eventually 

this investigation into new materials led to a 

new venture for me into Etruscan, black-fired 

bucchero. 

The body of work we produced together in Italy 

was then presented in a major exhibition hosted 

by the Museo della Ceramica in the wonderful 

medieval buildings of the Palazzo Brugiotti in 

Viterbo. In his opening address Phillip 

Stonehouse, Australia's Vice Ambassador to Italy, 

stated that the results of the exchange between 

Marino and myself had "attained a truly excellent 

level of beauty and refinement." Viterbo's 

celebrated Museo della Ceramica houses one of 

the best collections of medieval Italian ceramics. 

This exhibition marked a first for the Museum in 

exhibiting not only modern ceramics but also the 

work of a non-Italian ceramic artist. 

The exchange provided challenges and 

contrasts for us both. In Australia, Marino was 

Facing page: Victor Greenaway and Marino Moretti. Circle of Fire Lacriform (detail), over-glaze decoration on satin 

white glaze; Dragon Bowl (detail), over-glaze decoration on satin white glaze, Photographs by Visual Resource. 



30 PIA - SPRING/SUMMER 2003 

From lOP: Victor 

Greenaway and Marino 

Moretti. Cat/Rsh Bowl. 

thrown porcelain, overglaze 

decoration on satin 

white glaze, d.30cm; 

Mermaid Bowl, thrown 

porcelain, over-glaze 

decoration on satin whit 

glaze. h.25cm. Photos by 

Visual Resource.

Marino M oretti decorating in Victor Greenaway's studio, Australia , June 1999. Photograph by Visual Resource. 

faced with painting on the pure, white-glazed, 

generously curved surfaces of my porcelain 

forms while in Italy, I was confronted with the 

task of throwing large forms in the local 

terra cotta that would respond to Marino's 

distinctively modern interpretations of traditional 

maiolica decoration. The collaborative pieces that 

arose from this very special intercultural 

exchange, both in Australia and following in Italy, 

exemplified and extended the strengths and 

skills of both of us. 

Since this original exchange in 1999, Marino 

and I have maintained a close contact and 

continue to plan further collaborative projects. 

We are both fortunate in having partners with a 

vested interest in moving between the two 

countries which makes it easier for us to continue 

working together. Marino's partner, Merilyn, grew 

up in country Victoria and likes to visit often 

whereas my partner, JUdith, has since developed 

strong business links in Orvieto in Umbria which 

takes us back there at least once each year. One 

aspect of these business associations draws on 

the relationship that grew over this initial 

collaborative period, that is, in the forming of a 

company to take specialist, small group tours 

to Italy with a focus on the arts, language and 

culture of Umbria. In one of these tours, Ceramica 

Italia: from the Etruscans to the Renaissance, the 

group spends several days w ith myself and 

Marino in his home-based studio, a 9th century 

castle just outside Orvieto, In these classes 

Marino leads the group through a discovery of 

the traditions and techniques employed in 

maiolica decorating and fires work completed by 

each person so they can take it home w ith them. 

Marino also accompanies the group on some of 

the visits to significant ceramic collections w ithin 

the region, one of them to the ceramic museum in 

Viterbo where we had the exhibition of those first 

Italian collaborative pieces. 

So, on all levels, the collaboration has been a 

significant one for both of us. We have learnt 

much from each other and been able to 

incorporate the influences into our own individual 

work by expanding our knowledge of other 

materials, firing processes and techniques. It is 

a collaboration not only in practical terms but 

also in spiritual and one which w ill continue for 

many years. 

References 

InqUiries may be directed to Tel/Fax : +613.5 156.3219 or via 

emaiI 1o: victorgreenaway@bigpond.com. 

The website is www.victorgreenaway.com. 

For inquiries about the tours, email to judge@bigpond.com or go 

to the website. WVvW.discoveringitaly.com . The ceramic tours run 

once or twice a year for a period of 14 days with a strictly limited 

group size of 10. They are based in Orvieto, staying in a restored 

16th century monastery in the centre. and combine hands-on 

majolica decorating classes with Marino. visits to significant 

collections in Umbria and Rome. some basic Italian language and 

culture classes as well as a broader focus on the arts and culture 

of the region. 


ELIZABETH CHARLES 

Form, between continuity and innovation 

Some two years ago I submitted slides of work 

to Craft Australia for the Australian selection of 

work to be forwarded for the 53rd International 

Competition of Contemporary Ceramics. Only 

one Australian. Joanne Searle of Canberra. 

made it into the Concorso but six others. Betty 

Bray. Michael Boulay. Simon Lloyd. Peter Masters. 

Ljubov Seidl and I had work selected in the 

side exhibition. Form. betvveen continuity 

and innovation. 

In June 2003 I travelled to Italy to visit the great 

mecca that Faenza is to potters all over the world. 

Arriving via Venice gave me another wonderful 

opportunity to indulge and stimulate the senses. 

The biannual. contemporary arts event. the Venice 

Biennale had just opened and was not to be 

bypassed ! If ever you have the opportunity to 

see the Biennale you should ignore any negative 

press; the scale and diversity of such an event 

provides much to be stimulated by and of course 

the location is unsurpassed. From Venice I 

travelled south to the walled city of Ravenna. 

home to the greatest collection of Byzantine 

Ceramics in all of Italy. Then a half hour train trip 

west. to the hillside and I was in Faenza. 

The International Museum of Ceramics in 

Faenza is a knockout! After five days of 

contemporary art in Venice and another day of 

Byzantine mosaics and churches I was happy to 

have arrived where only the language of ceramics 

is spoken . 

Whilst I have spent innumerable time in 

museums in many locations it was hugely 

exciting to be in one dedicated to both historical 

and contemporary ceramics culture. And. as an 

exhibition participant. all the more valuable to 

be able to see my work within a contemporary 

framework. An overwhelming factor I observed 

was the value and pride that European 

communities placed and found in their 

museums. The people of Faenza in particular 

exemplified this. 

It is said that this museum represents the 

greatest collection of ceramics in the world. It 

is immense and requires a minimum of a day to 

view. The ceramics of five continents is presented 

in spacious exhibition halls and cabinets. It was 

especially refreshing and joyous to be amongst 

centuries of Italian maiolica. The museum also is 

home to collections of pre-Columbian American. 

Classical Antiquity. Ancient Near Eastern. Islamic 

and Asian ceramics as well as contemporary 

Italian and international art. With an extensive 

building extension underway the significance of 

this museum and its collection can only grow. 

The 53rd International Competition of 

Contemporary Ceramics attracted 1203 entrants 

and 2800 works. An international jury selected 51 

works of art by 37 artists. The Premio Prize 

(valued at 26.000 euros) was awarded to Jun 

Nishida of Japan for the work. Nought. a 

monumental work of feldspathic porcelain. 

A selection of works from 120 artists from 

the countries taking part in the Concorso 

were selected for Form. between continuity 

and innovation. 

Winner of the previous 52nd Faenza Prize. 

Argentinian Ana Cecilia Hillar. presented a solo 

exhibition of works made since her win. Taking 

the theme Tea for tvvo. Italian students from 


Italian Institutes of Art, also demonstrated their 

worth. Full colour catalogues and a CD-rom are 

available from the museum. 

The other special exhibition The Golden Age of 

Maiolica presented Italian renaissance ceramics 

in the Collections of the Hermitage Museum. 

This exhibition comprised 125 ceramic 

masterpieces from the main Italian centres of 

Faenza, Deruta, Gubbio, Casteldurante, Pesaro, 

Castelli, Urbino and others. 

The opportunity to view and consider the art of 

other countries and to reflect on that of our own 

is something we all need to do from time to 

time. I certainly came away renewed with belief 

in the achievements of my peers. In particular 

the impetus to encourage ceramists of all 

persuasions to enter work in the Faenza 

Concorso and I strongly encourage Australians to 

participate. And, don't forget if visiting Faenza - 

keep in mind a visit to the Venice Biennale and 

Ravenna on the way. And if this isn't enough to 

whet the appetite, I had two of the most 

memorable dining experiences of my entire 

Italian sojourn, in Faenza! It is a welcoming town 

and a must-see place for those who speak the 

language of ceramics. 

The biannual competition is scheduled to be shown next in 2005 

with entries likely to be called for early in 2004. For further 

information contact Museo Internazionale delle Cera miche. Via 

Campidori 2. 48018 Faenza, Italy or email: mfo@micfaenza .org 

Elizabeth Charles lives and works in the 

Southern Highlands of New South Wales. 

From top : Beny Bray. Torre/osa a secco fresco, 1200c. 

2001, h.2Bcm. Photo: Jackie Ranken: 

LIUbov Seidl. Daisy Pillow . 2002. porcelain. h.17cm. 


LAURA MCEWAN 

I ""~ ___ __._:-1 ~ ""_,. 

Hod Leaners. 

Guldagergard Sculpture Park - a critical review 

During a recent residency at Guldagerg~rd 

International Ceramic Centre in Denmark, I was 

privileged to share my living and working space 

with guest artists from around the world. The 

artists: Nina Hole, Rosario Guillermo, Robert 

Harrison, Sebastian Blackie, Neil Forrest. Ulla 

Viotti and Richard Launder, were invited to 

produce large-scale, site-specific, architecturally 

inspired ceramic sculpture for a sculpture park in 

the public parklands around Guldagerg~rd. The 

summer-long ceramic-architecture symposium 

culminated in a weekend seminar where guest 

artists presented their work and ideas. The 

responses the artists brought to the definition of 

architecture were very diverse, but perhaps a 

collective reference may best be described as a 

negotiation of space, in this case public space. A 

panel discussion towards the end of the seminar 

raised the issue of social responsibility for artists 

producing work for public spaces. Few members 

of the panel discussion were prepared to debate 

this issue which must surely beg the question of 

whether artists can adhere to a notion of social 

responsibility in a public space previously 

unknown and culturally unfamiliar to them. 

Five yea rs ago, the Queensland government 

adopted the widely considered progressive policy 

of 'art built-in' which allocates 2% of all capital 

works budgets to public art activity. I n the 

guidelines, cited benefits of public art include 

improved design and functionality of public 

buildings and spaces, a contribution to local 

distinctiveness and creation of a sense of place 

and regional identity. It also goes on to list a 

number of social responsibilities for artists which 

include issues such as access for children and 

sensitivity to the cultural diversity of users of 

public spaces being developed. 1 

The invited artists were not obligated to abide 

by any such enforced public art policy nor bound 

by the logistics of negotiations, they were given 

artistic licence to produce work for the parklands. 

Yet some of the artists still chose to hold the 

issue of social responsibility at the heart of 

their intentions. 

Nina Hole is an icon in the ceramics world; she 

is also a local to Guldagerg~rd . Her public art 

practice is centred on the 'social', her work relying 

heavily on a team of assistants, all of whom are 

credited and participate in every building and 

performative aspect of the work. Hole's work for 

the sculpture park at Guldage rg~rd is titled 

34 PIA· SPRING/SUMMER 2003

Left: Sebastian Blackie's Paper Kilns: Right: Rosar io Gu illermo. Coatlique. slab construction, 1 m sections. 

Muren. The form of the sculpture is borrowed 

from a church very near her home and the work 

is as much a monument to the 'spirit of 

community' as a marker for her own spiritual and 

cultural identity. Over the six-week duration of 

construction , close relationships between Hole 

and her assistants were formed and she credits 

the group dynamics and energy in having 

propelled the project forward. The in situ firing 

of the piece took two days and extended an 

invitation to the entire community. A huge 

crowd gathered to watch the performative 

'unveiling' - the removal of ceramic fibre blanket 

at top temperature - and fireworks as Hole and 

her team threw salt and sawdust onto the 

glowing form. The finished piece in the 

landscape is more than a memory of the 

performance, it is a cultural icon in miniature 

without the imposition of religious status, its 

stature and location reduced from the grandiose 

and exclusive to the humble and ecumenical. 

Richard Launder is an artist and professor who 

is based in New York and National University 

College of Art, Bergen, Norway. Launder's 

practice has been ephemeral and performative 

for the last 10 years, as an ethical stance of 

independence from the commercialism of the 

art world. 2 

Hod Leaners (who needs who?) is the title of 

the work produced at Guldagergilrd. It is a 

permanent work along the sidewall of the studio 

building. Using local bricks, Launder has created 

an illusion of brick boxes which appear to 

immerse into the wall at points whilst 

precariously balancing on leaning brick rods. 

Participation from other guest artists and 

residents was required to produce symbolic 

representations (in the form of an eternal flame) 

of Denmark's demographic using clay that could 

be representative of a region eg terracotta from 

Africa, etc. These symbols are intended for use 

as components of an on-going audience 

participatory 'game-playing', fitting the 

appropriate pieces into the boxes on the wall. 

A 'hod' is a box that carries mortar. One could 

deduce from the title and the reference to 

demographic that Launder draws an analogy 

between diverse community and bricks 

with/without mortar, but I wondered why he 

chose to take the analytical approach of statistics 

to the topical and politica l issue of immigration 

(many artists in Scandinavia are concerned about 

the right wing immigration policies that are 

gaining momentum). I have concluded, "who 

needs who?" could just as easily be "who 

represents who?" as Launder effectively removes 

PIA - SPRINGISUMM ER 2003 35

himself from the representational politics 

equation by having other people perform the 

representing for him. He is merely the 

manipulator of the scene in which we are all 

complicit - he gives us the facts and watches 

us busily performing our rituals of representing 

'otherness' . 

Robert Harrison is an artist based in Montana, 

USA and is president of the Archie Bray 

Foundation. His work Chimney Stack, is a variation 

on a form which he has produced for other 

international symposiums like Guldagerg~rd's. He 

is able to repeat this form in almost any space. fill 

it with local materials and, by his own admission, 

is able to complete a project within three days. 

Harrison constructed a leaning. spiralled chimney 

form from reinforced sheet wire and filled it with 

local bricks, chunks of flint from a nearby beach 

and shards of Royal Copenhagen porcelain. The 

structure is reminiscent of an oversized wire 

council bin filled with the detritus of the elite. In a 

sense, the work is honest in its blind reference to 

local cultural specificity through the use of 

materials. It is simplistic and does not engage 

with political or social issues. Harrison's intention 

with this work was to 'educate the public in new 

ways of using ceramics'. Apart from the absurd 

notion of broken porcelain in sculpture being new 

(he quotes Gaudi as an influence). it would seem 

presumptuous for an outsider to 'speak of the 

place' through the mere use of materials. 

Rosario Guillermo is a prominent Mexican 

artist living and working in Mexico City. Guillermo 

brought a spirit of cultural communion to her 

project- a large-scale interpretation of the Aztec 

goddess 'Coatlique'. She describes much of her 

work as an 'offertory'-to the Virgin, to the 

ancestors and also one to Frida Kahlo. The fivemetre 

high slab-built totem, constructed in five 

sections, bares an emotionally charged inscription 

which dedicates the work to Coatlique the mother 

of all life according to Aztec beliefs and to her 

own recently deceased mother. The chosen site 

is a more intimate space than many of the pieces 

Robert Harri son. Skaelskor Stack. 

and rather than proclaiming its existence to the 

world, quietly looks on from a tree-enclosed 

hideaway. Guillermo's version of site specificity 

does not rely on a presumed understanding of 

the local area, its inhabitants 

or its politics, instead it affirms a cultural affability 

from a position of quiet respect. 

Sebastian Blackie is an artist and postgraduate 

course co-ordinator at University of Derby, UK. 

Blackie's work for the GuldagergArd sculpture 

park, Wall, references the most 'elemental 

experience of architecture', the memory or loss of 

'home'. Blackie's work is comprised of building 

blocks made from fused tea bowls thrown into 

cardboard boxes - the cultural, domestic and 

functional gone array. The work was fired in paper 

kilns, a common performative aspect of his 

practice which he states is the easily accessible 

urban equivalent of the Leach self-sufficient 


aesthetic, requiring little or no technology. The 

building blocks were then buried which allowed 

for audience discovery and subtle conclusions. 

At the heart of Blackie's work is the elusive ideal 

of respectful representation and site sensitivity 

rather than specificity. He refers to the immigrant 

and refugee population (and their loss of 'home') 

whose housing backs on to the sculpture park 

and is conscious of invading their space. He 

questions how we, as artists, should explore or 

represent issues and experiences that are not 

our own. While acknowledging the very blurred 

boundaries of cultural appropriation, he also 

states that he would rather address these issues 

and get them wrong than not address them at 

all. There are many layers of meaning in Blackie's 

work, some remaining completely buried, others 

refusing to be. 

Neil Forrest is an artist and professor at Nova 

Scotia College of Art and Design, Canada. Forrest 

asserts that 'ornament is a legitimate artistic 

framework for contemporary experience.' He 

discloses an absolute belief in ornament's 

autonomous authority within the public domain. 

His patterned structures are informed by the 

'limitlessness of Islamic ornament'-repeated 

patterns of abstracted nature as a means to 

'inner expansion' . Forrest's work at Guldagerg~rd, 

Wurzelwerk, are forms reminiscent of oversized 

coral, bones or branches and are linked with 

cartilage-like flexible tubing, open to the 

possibilities of infinite extension. The work 

inhabits space, appearing to defy gravity. It does 

not rely on architectural structure or surface; it is, 

in effect. the structure, the surface and the 

decoration. It defines the space; it is architecture 

without foundations or purpose; decoration 

existing in the void . I can neither affirm nor deny 

Forrest's assertion that this void is a new class of 

space, because entering the ambiguous territory 

of art informing religious experience (or inner 

expansion), seems affiliated with Modernism's 

'aesthetic experience'. Forrest's forms however, 

do not read as objects of religious or cultural 

appropriation, my own interpretation of the 

beautifully rendered, abstracted forms is a poetic 

acknowledgment of the futility of nature as muse 

and the inevitable transference of misinformation 

in representation. 

Ulla Viotti is an artist based in Sweden. Her 

most recent works take the form of large-scale 

brick structures such as walls and towers. Many 

reference culturally specific historic buildings and 

the use of handmade, coal-fired bricks give the 

work an ancient appearance that denies the 

public recognition of an historical context. The 

tower built at Guldagerg~rd, Tinos, is based on a 

dovecote although its function is ambiguous. A 

gap exists in the wall and corresponds to human 

height; however, the space is not large enough 

for a head to pass through; the invitation to look 

inside endures yet access is denied, heightening 

our intrigue. 

Nina Hole. Muren. 


Helle Hove is a Danish artist who was a guest 

speaker at the weekend ceramic sculpturearchitecture 

seminar at Guldagerg~rd and raised 

the issue of social responsibility in the panel 

discussion. Although not one of the artists who 

produced work for the sculpture park at 

Guldagergilrd, I would like to discuss her public 

commission for an aqueduct in the town of 

Kolding, Denmark. Prior to her involvement, the 

concrete structure was typical of 1930s 

functionalism providing pedestrian access under 

a railway line. It was dark, uninviting and 

imposing. Hove's work references tradition and 

skilled craftsmanship but above all is a careful 

consideration of the space and the public who 

use it. Her intention is that of 'humanising the 

environment'. Hove used a repetitive patterned 

mosaic to cover the interior and exterior spaces 

of the aqueduct, the angle of the tiles 

corresponding to angles in the structure. The 

colours on the external walls blended with the 

surrounding environment and the white interior 

brightened the space. In between the structural 

posts, on the floor, she installed water filled light 

troughs, which emanated a vibrating and 

shimmering light each time a train passed over. 

The public is encouraged to experience a 

sensation of moving through the work rather 

than it crying out to be looked at; the annoyance 

of overhead trains became an anticipated 

atmospheric display. The success of Hove's work 

does not rely on cultural specificity yet its social 

consideration is foremost. It does however, rely 

on an intimate knowledge of the space and 

prudent research for an informed approach to 

the project. 

We put our faith in artists as experts in the 

field of visual culture and trust that their 

consideration of negotiating public space also 

considers their social responsibility in order to 

fulfil the definition of 'improvement'. With the 

time constraints inherent in an international event 

such as this, and project proposals required prior 

to personal contact with the site, can such public 

sculpture reflect local concerns or fulfil the 

definition of architecture (negotiating space) or 

will it be confined to the domain of the outdoor 

gallery? The sculpture park at Guldagergilrd was 

opened on the 31st August 2003. It certainly 

fu lfils the function of being a landmark 

contributing to a sense of place and local 

distinctiveness and received positive attention 

from the community and ultimately, should 

anyone strongly object, public petitions for 

removal are always an option! 

References 

1 . Art Budt·/n Policy Guidelines. See 

'NWW'.arts.qld.gov.au!publicartagency/guide.html 

2. See www.squalartinternational.com for text and images of 

Launder's perfofmances. 

laura McEwan gratefully acknowledges 

the support of the John and Sheilagh Kaske 

Memorial Fellowship (Southern Cross 

UniverSity) and the Ian Potter Cultural Trust 

in funding her residency at Guldagergilrd. 

Helle Hove. mosaic tiles, Kolding , Denmark. 


symposium 

NICOLE LI STER 

View of Skaelskor from the harbour. 

GuLdagergaard artist-in-residence program 

Inger M0lgaard, the office manager at Guldagergaard, is searching through a kitchen cupboard 

full of ceramic bowls, plates and platters to find that one piece she particularly likes to serve Danish 

pastry on. "My favourite l " she exclaims as she pulls out a Jane Sawyer serving tray from behind 

stacks of Oribe style bowls. The assortment of ceramic items that fill the cupboards and line the 

shelves in the kitchen of the manor house at Guldagergaard is indicative of the many ceramists from 

around the world who have spent time living and working there since Guldagergaard opened as the 

International Ceramic Centre in 1998. Most recently the Art Museum of Grimmerhus in Middlefart, 

and the International Ceramic Centre at Guldagergaard have merged into a new museum, which 

combines an exhibition section, Grimmerhus and a practica l research and studio department, 

Guldagergaard. Together they form The Museum of International Ceramic Art, Denmark. 

Guldagergaard is situated in the old harbour tow n of Skaelskor in the south western corner of 

Zealand, about an hour and a half from the Danish capital. Copenhagen. The town is surrounded by 

protected landscapes with old manor houses, moors, nature reserves, meadows, and beaches. The 

local town council has established a city park around Guldagergaard and it was this park that was to 

become the focus of Guldagergaard's 2003 summer symposium : ceramic sculpture-architecture. 

The first sculptures for the park were built by invited guest artists during July and August. 

Aside from offering sponsored residencies to invited artists, Guldagergaard also runs an artists-inresidence 

program where professional artists can apply for short or long term residencies. I appli ed 

for a two month residency during the symposium period because I was particularly interested in the 

symposium theme and the opportunity it presented for an intensive period of work, professional 

development and social interaction with other artists. 

I arrived at Guldagergaard in early July. Soon all accommodation and studio spaces were full with 

guest artists, their assistants and the artists-in-residence. The seemingly indefatigable technician, 


On the back steps, Guldagergaard main house. Clockwise 

(L to R): Neil Forrest (CAN), Ann Linneman (DKl. Jasmine 

Wallace (CAN), Anne-Mette Buus (DK). Laura McEwan 

(AUST), Sebastian Blacki. (UK), Virginia Jones (AUST), 

Beth Kendall (USA). 

Ann-Charlotte Ohlssen, the only staff member 

who lives full-time at the centre, was kept busy 

setting everyone up in their studio space, 

advising on claybodies, kilns, and answering just 

about every other question related to functioning 

in an unfamiliar environment. A large proportion 

of those on the residency program came from 

the USA and Canada. Spain, Japan and Korea 

were also represented. Laura McEwan, myself 

and later, Virg inia Jones, made up the Australian 

contingent. Most evenings, after a day working 

in the studios, the park, or the kitchen (if it was 

your turn to cook) we all sat on the back 

verandah of the main house, eating, drinking and 

enjoying the unusually hot summer weather. 

Slide talks every Monday and Tuesday night gave 

us the opportunity to speak about our individual 

ceramic practices. Ann Linneman, the art director 

of the Research Centre organised day trips to 

galleries, museums and a brick factory in Jutland 

- sponsor of Ulla Viotti's sculpture Tinos . These 

trips were not only informative and interesting 

but gave us the opportunity to experience life 

beyond the studios of Guldagergaard. 

During my residency I created two site-specific 

works that were temporarily installed in 

Guldagergaard City Park from 13 -17 August. 

Gold Une and Mr Tinelsens Pears were 

conceived partly in response to the symposium 

theme and partly in relation to the context in 

which I found myself working. As I engaged with 

the site, gathered local knowledge and histories, 

experienced the largely cultivated landscape of 

the local area and witnessed the changes to that 

landscape as the wheat crops were harvested 

and trees grew heavy with ripening fruit. these 

works revealed themselves to me. 

The name Guldagergaard (Gold acre farm) is 

not only evocative but suggestive of the farming 

activity historically carried out at the site. Mr 

Troelsen, a very famous seed and fruit grower, 

built the main house at Guldagergaard in 1918. 

He also designed the large garden and added 

many plants. This garden forms the basis upon 

which Guldagergaard City park is laid out. Whilst 

the organized fruit gardens that are situated in 

the park today are not the original, I wanted the 

work titled Mr Troelsen's Pears to appear as if it 

was emerging from the ground-the unearthing of 

an organic past. I partially buried a pit-fired 

earthenware mound at the corner of the garden 

under a fruiting pear tree. The sprig moulds used 

to construct the piece were made with pears 

picked from that tree at the very start of my 

residency. Six weeks later, the pears were fully 

developed and falling to the ground. 

I chose two straight rows of birch to frame 

the work Gold Une. A section of the 'line' was 

constructed using various ceramic pieces I had 

made in the studio: twenty three extruded 'brick' 

modules whose surfaces had been worked and 

reworked with text and random tracings, pit-fired 

with wood, seaweed, and sawdust; a pair of 

porcelain shoes made from stitched paper 

moulds; and several fragments of sprigged pears 

with gold leafed surfaces. The installation was 

completed on site. The ceramic 'bricks' were 

arranged to form a path and the recently mowed 

grass raked into a meandering line. Wheat 

grains, collected on a day trip to a nearby island, 

Agerso, filled the shoes, ash from the pit-fire and 

hay from a neighbouring field were also utilised. 


Above (from left): Nicole Uster. Gold Une. pit·fired earthenware, porcelain, gold leaf, wheat grains. grass clippings. ash and 

hay; Mr Troe/sen's Pears. pit-1ired earthenware. grout, earth. grass and pears. Guldadgergaard City Park. August 2003. 

The work also had a performative element. Each 

evening I brought the shoes inside and each 

morning I placed them back at a point further 

along the line. As the shoes progressed they 

became totally stuffed with material collected on 

their journey. For nature, summer in Skaelskor 

was a period of growth, fertility and abundance. 

For me it was a time to glean - both 

metaphorically and literally, as evidenced by the 

works I completed during my residency. 

I left Guldagergaard at the end of August, just 

prior to the opening of the Sculpture Park, 31 

August 2003. After nearly eight weeks of people, 

noise, music, discussion, clay making. heavy 

machinery, gardeners, council workers, truck 

deliveries, bricklayers. wood chopping, firing, 

cooking, cleaning, coffee drinking, slide talks, 

exhibitions, frisbee throwing, bike riding and 

other purposeful activity, a wonderful peace had 

descended on Guldagergaard providing the 

opportunity to reflect upon the remarkable and 

often inspiring achievements of the guest artists, 

the assistants, fellow artists-in-residence and 

Guldagergaard staff. 

For more information on the artist-in-residence prog ram, special 

projects. symposiums. seminars, workshops and exhibitions 

organised by The Museum of International Ceramic Art. Denmark 

visit .WWW.ceramic.dk 

--. ~ _- 

This project has been assisted by the 

Commonwealth Government through the Australia 

CounCil. its arts funding and advisory body . 

Photos: Nicole Lister 


-h~~~~-------+----------------- 

e scenes 

GEOFF WALKER 

Julie Shepherd, Ute Forms, slip cast David Leach porcelain, pierced, oxidised. fired 1280c. h22cm. 

Gold Coast International Ceramic Art Award 2003 

One would think that the second year of 

running an International Award Exhibition would 

be easier than the first attempt. wouldn't one? 

Wrong! The 22nd Gold Coast International 

Ceramic Art Award had its own new challenges 

and controversies. 

Although when installed this exhibition might 

have appeared reserved in comparison with the 

previous year, it was, nevertheless, a much more 

difficult challenge, but one of which my team 

and I were duly proud. 

As exhibition spaces go, many regard Gallery 

Two at the Gold Coast City Art Gallery an inferior 

space. To me, though, it is not only a perfect 

space in which to show so many ceramic works 

in their own favourable light. but is broken into 

spaces resembling small 'rooms' for grouping of 

related works. I love it, and prefer it to, say, 

Gallery One upstairs, which is much more 

suitable for hanging two-dimensional works 

or the presentation of large, floor-based 

installations. 

When I had had time to digest Richard Parker'S 

original selections, I realised that most of the 

works he'd chosen for inclusion were small or 

plinth-displayed works. I'd previously suggested 

that. for reasons of space, he limit his selections 

to about 80 or so works. Not wanting to 

influence his choices, but aware that with the 

choices he had made I would have great 

difficulty in presenting as a visually stunning 

show, I asked Richard if he would consider 

adding some larger, say, wall or floor-mounted 

works to his choices, explaining that although I 

42 PIA· SPRING/SUMMER 2003

PIppin Drysdale in her studIO - her work Tanami Traces Sedes I-Smoke Bush Traces II originally won the 2003 award. 

respected his choices, I had to consider the 

'wow' factor of an entire exhibition. Delighted to 

be able to add more of the works he'd had on 

his finalists list anyway, Richard agreed and was 

overjoyed to please me (and him) by adding a 

few more. 

I feel (modestly ... well ... almost) that the 

resultant exhibition was visually appealing and 

gave every work its best chance of being 

appreciated- something I consider so important. 

And for the entire month of the show, the 

reaction from thousands of visitors was one of 

appreciation and gratitude for that philosophical 

overview. All of the 21 exhibitors who attended 

the opening night agreed. What a wonderful 

turnout with which to be blessed. 

Some works by default designate their own 

positioning. Mel Robson's installation, Missing 

Kitchens, demanded its own volume, as did 

Melissa Scheele's Bygone Wisdom- United as 

One . Conversely, smaller, more delicate, but no 

less powerful works like those of Shannon 

Garson, Jasmine Scheidler, Emilka Radlinska, 

Karin Widnas, Sophie Thomas, Julia Szalay, Eva 

Zethraeus and Julie Shepherd needed the 

protective environment of perspex cases. 


Some realities we have to live with and accept. 

If variety in ceramic expression was your thing, 

then you couldn't want more than was shown 

this year. Diversity was certainly not lacking. 

Despite rumours, however, I was not too 

disappointed that an over-fired work in clay failed 

to appear as a meteorite from nether-space. 

Handling paperwork from Australian Customs 

and Ouarantine Service was quite enough for our 

dedicated team member and secretary, Glenice 

Ramsbotham, and our equally committed 

Treasurer, Barbara Corrigan, without the added 

burden of complying with an interstellar 

bureaucracy, thank you very much! 

Nonetheless, 256 entries did arrive from 21 

countries, all continents, and every state and 

territory in Australia with 85 from 11 countries 

chosen for exhibition by Richard Parker. 

For the first time in its 22 year history, the 

Award, initially announced as going to Pippin 

Drysdale for her piece: Tanami Traces series 1- 

Smoke Bush Traces /I was withdrawn. The 

Committee felt it had no choice in disqualifying 

this marvellous work on the grounds that Pippin 

had inadvertently failed to acknowledge the input 

of her thrower of many years, Warrick Palmateer, 

thus breaching one of the conditions of entry. 

We felt that our first concern should be the 

integrity of the Award and that of the Gold Coast 

City Art Gallery should not be compromised 

under any circurnstances. Sadness and 

disappointment for all concerned , but 

nonetheless, a necessary decision. 

Behind the scenes hid another talented and 

dedicated member of the team that makes up 

the volunteer Committee, Gloria Wheatley. 

Armed with scanty instructions (from Yours Truly 

-a rank amateur) on using Adobe PageMaker, 

Gloria and I battled the fickleness of our 

computers to produce, under enormous 

pressure, a collectable catalogue of which we 

were all proud. Each year the catalogue makes 

vast leaps forward with an anticipated full colour 

version for the Award next year - depending on 

finances, of course. 

The Committee anticipates that another 

important goal will be achieved before the 

end of 2004, and that is the daunting task of 

cataloguing, photographing and collating for 

publication the hundreds of major works in the 

Gold Coast City Art Gallery's permanent 

collection of ceramics acquired over the past 

23 years. Some of the great names in Australian 

and International Ceramics in the past quarter 

century are represented in this unique collection. 

Publication of this valuable reference book will 

be costly and involve a major amount of 

co-ordinated work, but is anticipated with 

much excitement. Please wish us well in this 

daunting task. 

Should you like to take a virtual tour of this 

terrific exhibition, a CD of dozens of images of 

the exhibition combined with a colour (printable) 

catalogue is available for $12.00 including 

postage and handling within Australia from : 

The President. G.C.I.CA Award, PO. Box 1046, 

Burleigh Heads, Old . 4220. 

For now, though, we take a short break before 

beginning the planning for September 2004 

and the next Gold Coast International Ceramic 

Art Award. 

Geoff Walker 


~ mnovatlon JANE CRICK 

CAROL KENCHINGTON 

KAYE PEMBERTON 

Janet Fieldhouse. Gathered 

Two (detail 1 of 4 pieces I. 

carved porcelain forms, wire, 

fibre. 1.42cm. 

Canberra Potters' Society Annual Members Exhibition 

A major objective for the 28 year old Canberra Potters' Society is its goal of excellence and 

innovation. How does a community group meet such a goal? And how does it do so in an exhibition 

of members' work. where the members' skills range from long-standing professional to rank beginner? 

It is a challenge indeed for any exhibition organiser intent on promoting excellence and innovation. 

CPS has over 200 active members making it one of Canberra's largest arts and cultural societies. 

The Annual Members' Exhibition is the highlight of the Society's exhibition year. The exhibition is open 

to all CPS members. the only limit being on the number of pieces each member can enter. 

The 2003 exhibition was held at the Watson Arts Centre which is run by CPS and provides the 

Society with an excellent gallery for large ceramic displays as well as workshop and administation 

space. There were 137 pieces exhibited, revealing the full spectrum of contemporary ceramic practice 

from functional to sculptural, conceptual, playful and experimental. This reflects the vibrancy of the 

regional ceramics community and also the effectiveness of a number of exhibition policies and 

practices which have evolved over the years. 

If bumper visitor numbers and lively sales indicate the quality of an exhibition, then this year's 

exhibition, held 19 September to 5 October, has succeeded in meeting the Society's excellence and 

innovation objectives, possibly more fully than ever before. Timing was advantageous. This year the 

exhibition fell during school holidays, while the popular children's pottery classes were held at the 

same site. The effectiveness of the hard-working exhibitions subcommittee members should not be 

underestimated: they are volunteers who are not only dedicated. but who are also skilled in running 

exhibitions of this nature. Good coverage in the local media is one reflection of their skills. 

Multiple awards promote excellence and are an exciting feature of the exhibition. The Canberra 

Potters' Society provides the prestigious Doug Alexander Award in recognition of the contribution to 

Australian Ceramics made by the late Doug Alexander. Other awards are contributed by a number of 

supportive organisations. some are long time sponsors of this annual event. 

The awards are chosen by an invited external judge who is generally an eminent ceramic 


AWARDS 

Doug Alexander Award - Kaye Pemberton 

Craft ACT Award - Avi Amesbury 

Raglan Gallery Award - Debra Boyd-Goggin 

ActewAGL Tertiary Student Award - Janet Fieldhouse 

Northcote Pottery Award for Functional or Sculptural 

Terracotta - Garry Palecek 

Ceramic Glazes of Australia Decorative 

Surfaces Award - Leanne Percival 

Clayworks Award for Low-Fired Work - Esmee Smith 

Walker Ceramics Award for Tableware - Chris Harford 

Cesco People's Choice Award - Jackie Lallemand 

MERIT AWARDS 

Pottery in Australia - Daniel Lafferty. Joanne Searle 

Australian Ceramics Directory - Moraig McKenna 

Jasmine Scheidler 

Ceramic Art and Perception - Ian Jones 

Ceramics Technical -Ian Hodgson 

ClockWise from top~ AVI 

Amesbury, Passages of Time /I, 

h.3Ocm: Debra Boyd-Goggin. 

Memory and Facade , thrown 

and hand built stoneware forms. 

wire, h.28cm; Chris Harford. 

Banquet Dish, copper red, 

chun. white and tenmoku 

glazes, d 45cm. 

Photos: ANU Photography. 


practitioner. This year's judge was Trisha Dean, 

editor of the Journal of Australian Ceramics - 

Pottery in Australia, and a nationally recognised 

potter with over 25 years experience as a potter, 

teacher and craft commentator. There is no 

doubt that the judge's input and deliberations 

are other factors encouraging excellence. 

The judge is also given the fraught task of 

selecting the final entries to create a coherent, 

exciting exhibition. To achieve this, the judge 

may, and usually does, exclude individually 

competent pieces, for the sake of the whole 

display. The Society believes that this step is vital 

to achieving a really high quality exhibition, despite 

the anguish it may cause individual members. 

Of course, in any instance, the judge's decisions 

may be debated, although no formal argument 

is allowed. 

A new student award, introduced in 2002, 

has stimulated vigour and vitality within the 

exhibition. Members who are also final-year 

tertiary ceramics students are encouraged to 

exhibit in this category. Nine students 

contributed work in 2003. CPS President, Cathy 

Franzi, commended the student category on the 

exhibition's opening night. 

This year, Kaye Pemberton won the coveted 

Doug Alexander Award for Family. "Three 

teapots in celadon glazes sit in softly rounded 

pillows. As functional objects, these teapots 

speak to us all. As works of art, they are 

understated, conveying a complex message. 

Yet they are humble, made with respect and 

care. I have no doubt Alexander would have 

given his strong support to this award."l 

Avi Amesbury, won the Craft ACT Award for 

Passages of Time II. This piece features three 

slip cast porcelain cubes with bold surface 

treatment. Amesbury says that "The dichotomy 

of landscape informs the work ... Building blocks 

speak of cultures upon which we now stand". 

The Raglan Gallery Award was won by Debra 

Boyd-Goggin. Her new body of work Memory 

and Fa9ade is based on memories of growing up 

in Alice Springs. Boyd-Goggin says "I've used 

configuration and multiple pieces to evoke layers 

of memory, or like a story, there are many 

elements of description. I have used the word 

'fa

me 

LONE WHITE 

Cairns Potters' Club Awards 2003 

On 12 September the Cairns Potters Club presented the third of its biennial National Exhibitions in 

the Melting Pot series. Held at the prestigious Cairns Regional Gallery the exhibition attracted 78 

entries of a high standard. The official opening was attended by more than 170 people. The judge, well 

known Brisbane ceramist Marc Sauvage stated that he was impressed by the variety, quality, and 

diversity of the exhibits. 

The biennial exhibition has the objective of exposing regional ceramists to national trends, 

displaying works from both novice and professionals alike, to promote a broad overview of what 

Cairns has to offer, encourage beginners and promote regional artists. Due to a depressed climate the 

Club did not manage to attract sponsorship for any large non-acquisitive awards this year; this made 

it a less attractive proposition for interstate exhibitors. However six interstate entries were received 

(less than was hoped for) but the response from ceramists from North Queensland was great. 

The major prize, sponsored by Cairns Port Authority, was awarded to Len Cook of Paluma for his 

sculptural work: Reef Reflections. The Judge described the piece as follows "A very strong sense of 

shape and form beautifully combined with an optical textured surface. A strong presence". 

Second highest award winner from Melting Pot 2003 was Joan Cleland of Cairns with the work 

Infinity which received Senator Jan McLucas Award. Marc Sauvage' comments were "Elegantly 

classical forms with powerful sense of 'group'. Soft surface texture play with light to define surface." 

Other award winners were Anne Overall of Cairns with her work Just Stoned I and II which took out 

The Ron Ireland Award and Sophie Thomas from Melbourne who collected Tropical North 

Queensland TAFE award for her piece Charred Earth I and II. 

Mollie Bosworth from Kuranda won the Cairns Potters Club Deborah Nunn Memorial Award with 

Untitled. Liz McGrath also from Kuranda received The Warren Entsch award with Pair of Tall Tribal Family. 

The Northcote Pottery Award went to Pam Carey of Atherton for her work Watereolour Blues and 

the Garage World prize to Lone White of Cairns with her work Cloud. Sue McFarland from Melbourne 

took out the Calanna Pharmacy award for Marine Object. Collins Booksellers Smithfield award went 

to John Tindal for his piece Daisy Blue . For the first time ever a glass award-sponsored by Pilkingtonwas 

included in the exhibition and won by Jenny Scott of Cairns for her work The blue horse. 

Facing page (clockWise from top); Liz McGrath, Pair of Tall Tribal family; Lone White, Clouds; Joan Cleland. Infinity. 



ceramic competition 

WENDY BAINBRIDGE 

Len Cook. COfal Forms. 

Perc Tucker Regional Gallery 

The North Queensland Potters Association 

Biennial Ceramic Competition attracted 80 

entries from around the country. It was exhibited 

at the Perc Tucker Regional Gallery, Townsville 

during August and was judged by Bob Connery 

from Stokers Siding Pottery. 

The Townsville City Council Award of $2000 

went to Victor Greenaway. As this was an 

acquisitive award the bowl went to the Regional 

Gallery's ceramics collection. The Cannington 

Award of $2000 went to Len Cook for his Coral 

Forms and the Loloma Jewellers Award for $500 

went to Yeon Hee Jeong for her tableware. 

Mollie Bosworth's Bowls won the Fourex award, 

Shireen Talibudeen's Upservice won the 

Clayworks award, Judy Hamilton's Ulilabra 

won the Claycraft Award and Pateena Snooks's 

Torso won the Claycraft Student Award. 

The Reg ional Gallery again provided an 

excellent setting for this exhibition, and with 

such a large and varied number of entries this 

year, NQPA fulfilled its commitment to promoting 

ceramics within the region and giving the 

community an opportunity to view current works 

from around the nation. We finished off a busy 

week with Bob running a 3-day lustre work!ihop 

which was most informative and provided us 

with plenty of new ideas. 


Clockwise from top left: 

Group shot (from 

top) Ariella Anderson. Vessel, 

blackfired, Petra Svoboda, 

Linear Series, porcelain. Yeon 

Hee Jeong, Tableware; 

Victor Greenway, Porcelain 

Bowl, wheelthrown; Jeff 

Mincham, Tea Bowl, Andrew 

Cope, Vessels, thrown and 

altered forms. 


FLEUR SCHELL 

From left: Pippin Drysdale. Diane Sigel. 

CAWAA Annual Members Exhibition 

The value of viewing ones own backyard 

through the eyes of an overseas visitor should 

never be underestimated. Recently, donning my 

tour guide hat, I have been busy guiding several 

international ceramic artists around Western 

Australia. Of all the highlights we visited, there 

was one cultural jewel the visitors were 

consistently envious of, and for several excellent 

reasons. Resting on a quiet suburban road in 

Perth's Wealthy Golden Triangle is a gallery which 

prides itself on showcasing Western Australia's 

finest ceramic talent. If the national ceramics 

community were to be described as a vast and 

integrated chain, Gallows Gallery is rapidly 

becoming a very important cultural link. 

The role of an Art Gallery today more than ever 

is to connect the broader community with the 

artist. In an age where a single touch of a keypad 

can transport one through cyber-galleries like 

flicking through a telephone book, the physical 

gallery continues to play an integral educative 

role. There is one very important element of an 

artwork that cannot be experienced through a 

computer screen and that is PASSION. Even 

more than the sensual experiences gained fro m 

touching, listening, smelling and walking through 

a gallery adorned with pots, it is the curator who 

can capture the public's imagination as they 

express passionately how and why the artist 

weaves their magic into the clay. 


Clockwise from top : Ken Pratley; Myra Staffa; Fleur Schell; Ian Dowling; Cher Shackleton 


So it was highlighted to me by my overseas visitors what a unique asset Gallows Gallery is to 

Western Australia. It is not only the modern and sophisticated space itself, but the driving force 

behind Gallows .. the experienced and well-travelled wood firing gallery owner/curator Diane 

McCusker which makes the gallery so important and successful. Diane is just as excited about the 

labors of firing her enormous Anagama kiln for 60 hours. as she is about promoting the works in clay 

of others from her home state. Gallows Gallery offers the opportunity to experience ceramics objects 

slowly over time. the way they were made by the hands of potters. The Gallery is rapidly gaining a 

valued reputation nationally as it encompasses a vastly eclectic collection of ceramic styles. 

McCusker speaks from her soul as a potter who genuinely is in love with the medium she promotes. 

Speaking from a fellow potter"s perspective, sharing an afternoon pondering Gallows ceramics 

collection with Diane McCusker, is an inspirational experience. 

This is one of the reasons why the inaugural Ceramics Arts Association of Western Australia 

(CAWAA) members show at Gallows Gallery is growing in prestige and popularity. The recently held 

CAWAA annual selective exhibition was a resounding success. Eloquently opened by the charismatic 

wood-firing Guru from Gulgong. Chester Nealie. the exhibition was unveiled to yet another capacity 

audience. Chester acknowledged the significance of this event noting the value in drawing together 

the best of WA ceramics in a single venue. The beauty of this yearly event is in the way it invites the 

public to compare and enjoy the quality and diversity of WA makers. The works on show embody 

technical difficulty, frivol ity, serenity, and a wonderful rapport between the hands of the maker and 

that of Mother Nature. Many of the pieces ask us to take a moment out of our day. to slow down 

and to care. In doing so many of the objects encourage us all to be more sensitive to what we forego 

in our lives and what we have to gain. 

Gallows selective exhibition is pivotal in establishing a new and exciting profile in WA. The ceramic 

arts is once again gaining momentum and stepping beyond the shadows cast from other mediums 

and industries. A showing of this kind does more than just educate the general public. A significant 

event such as this is also an important vehicle for strengthening relationships in our ceramics 

community. It encompasses all levels of makers ... the full time production potter. the part time 

ceramic artist, the ceramics educator and the emerging ceramist, all valuable contributors to our 

diverse local ceramics scene. 

On the evening of the inaugural CAWAA members show at Gallows Gallery. as I listened to familiar 

and foreign voices discussing ways of making, new technical discoveries or even the birth of a 

grandson. I was convinced there is no more effective way to highlight why I love my chosen career 

path ... the social occasion that bring us all together to celebrate our devotion and empathy as we 

communicate through clay. 

Fleur Schell 

Photos: Michael Ward 


~,~~~~ ____ --~~ 

groun 

DANIELLE PACAUD 

Bowls. 2002. porcelain - paper resisVcobalt slip. calcium matt glaze - cone 11 reduction. 25 x 13cm. 

The ceramic works of Peter Battaglene 

Peter Battaglene's workshop abounds with 

serried rows of pots, that familiar and reassuring 

sight. They are as identical as they can be, 

thrown from the same weight of clay, by skilful, 

long-practised hands, with the relaxed variation 

from the ideal that gives them individual character. 

His intention is an elegant simplicity and he 

admits to straining for control in the making, 

throwing precisely and labouring over turning. 

But he is relaxed enough to yield to the inevitable 

softening influences of the process; the waisting 

and bowing in the drying, the slight give and sag 

in the melting. Even the sorry outcome of 

dunting in the cooling he takes in his stride, 

examining the cracks in the beautiful bold 

cylinders with a detached fascination and 

speculating on the adjustment to the firing 

he will try next. He enjoys the making, having 

them one at a time to tend to. 

This is the simplicity, approaching the 

Japanese ideal of shibui , so often sought after, 

which belies the dedication it takes to achieve 

objects that seem as if they could only be thus. 

Any of us who have sought to reproduce their 

lush surfaces knows the rigorous research , the 

painstaking trial and error and trying again, 

involved in accomplishing such an exquisite 

fishtail glaze, the scales telling of the crystalline 

origins in their circling array. 

Talking about the appeal of simplicity, Peter 


spoke of the overload of information to filter in 

our everyday experience. His simple multiple 

forms, relieved by their small differences, lure 

us away from the throwaway rush and gush of 

sensation and experience in this short attention 

span, moving image world. There may be an 

expression of renunciation in that allure, or even 

the promise of serenity. Something we find in 

contemplation at a beach on Bruny Island, 

strewn with fingernail moon shells identical at 

a glance, but each absorbingly different. 

The decorative motifs that Peter uses take up 

this theme like a basic rhythm drumming home 

the point. The circle patterns, apparently regular, 

are made up of hand-cut paper circles 

individually applied, introducing a random shift to 

the matrix. They are not still, reminding me rather 

of the turning of cogs, or the settling of bearings 

in some automated sorting process. In their 

author'S mind's eye they evoke natural repetition, 

the generation of organic forms, like the 

blooming of algae, concentrating and dispersing, 

changing scale between pieces. 

He means to draw a parallel between natural 

patterns and the repetition of industrial 

production and storage, like the stacked circles 

of end-on power poles. 

A connection can be seen with the September 

show at the Bett Gallery, Colour Studies and 

Swiss Landscapes, the work of Hossein and 

Angela Valamanesh. There is an overlapping 

concern seen in Hossein's miniature array of 

maidenhair fern leafs in a geometric circle, which 

stopped Peter in his tracks when he saw it, and 

there is the Braque-like play of reductivist forms 

and the spaces between them evoked by 

Angela's grouping of pots. 

Peter's decorative motifs reach that place 

where texture and colour carry equal weight and 

pulse with the figure-ground beat of the pattern 

and its spaces. 

The serial display the artist has chosen for 

this show, a matrix like the array of columns and 

rows on a digital spreadsheet, adds another layer 

to this play on the relationships between 

multiples. It is a device that encourages the 

steady gaze, invites us to notice small variations 

and questions our sense of recognition. 

This potter has gleaned his elegant simplicity 

though an enduring enchantment with the 

material, in a hardworking and independent 

career, though he says he owes a great deal to 

the generosity and support of all the potters 

working at the two potteries in Kinka Road, 

Terry Hill, Sydney. Firstly, to Jock Shimeld 

who took him on as an apprentice, but also 

to Andrew Halford, and Richard Brooks who 

shared their knowledge and skills freely. 

Recent recognition came with support from 

Arts Tasmania to take work to Munich for the 

Internationale Handwerksmesse Craft Fair 

bringing Australian object art to European 

audiences. An award from Arts Tasmania in 2002/3 

allowed him time to develop pattern and the use 

of stencils and resists, both liquid and paper. 

Exhibitions for which he has been selected in 

2003 include Future Function at Manly Art 

Gallery & Museum, the 6th Australian Craft and 

Design Showcase at Glen Eira City Council 

Art Gallery, and the Australian Gifts and Craft 

Showcase in Singapore. 

Speaking about the significance of working in 

Tasmania, Peter remembered his excitement at 

arriving here as a student; this young man who 

had resisted schooling and relished/struggled 

with the apprentice system. The mythology 

attached to the School of Art, the Centre for 

Furniture Design and the renowned Ceramic 

Research Unit, raised an expectation that was 

not fulfilled. But he feels he has grown beyond 

that. The language he uses is his own, and 

whether appropriated from afar or near, mentors 

56 PIA - SPRINGISUMMER 2003

Column, 2003, porcelain, 

turned line. calcium matt galze 

_ cone 11 reduction. h.36cm. 


.. 

Plates, 2001, porcelain - squared edge. celadon glaze - cone 11 red ucti on. w.30cm. 

or peers, it is now his personal expression 

moving him on under its own momentum, 

He sees modern art practice as information 

rich; multi-media imagery flowing thick and fast 

from all corners of the globe, as much as oozing 

from the ground at your feet. While he recognises 

the Japanese references, and reveres modern 

Japanese masters, there are equally Scandinavian 

influences, and his own mentors were loose 

gestural throwers within the Leach legacy, His 

own satisfaction in a form seems to be as much 

a reflection of personality as artistic inheritance, 

picking up threads from several traditions that 

meet in the relaxed austerity of his ringed 

tapering cylinders and introverted bowl forms. 

Of course porcelain has its secret life, Holding 

the thin shell of a small bowl up to the glare of 

the bare tungsten bulb, he turns to look for my 

smile, The edge-defining shadow lines that 

attracted touch are gone, and the water-etched 

relief makes the pale discs hover moon-like in 

their milky sky, This is the secret that captivates, 

but liberates the imagination, these veils and 

obscurities that kindle fantasy like the shifting 

patterns in the curtains of a childhood dawn, 

As for the influence of the Tasmanian 

landscape, Peter has oriented his workshop with 

only a squint at the inescapable Hobart mountain 

view; since he would have to share it with that 

other Tassie icon, the hydro power pole 

transformer, an irritating reminder of our clumsy 

relationship to our environment. But he admits to 

a passion for surfing and his "Watermark" stamp 

is derived from the form of bull-kelp, suggesting 

as it does in this stylised representation the force 

of wave motion, and perhaps the force of 

kneading clay back into a plastic state, What he 

feels about the island, fervently, is that it sustains 

him, This has to do with the people here, friends 

like the one who lent him a compressor the day 


Dish . 2000. porcelain. calcium matt glaze· cone 11 reduction. 1.20.5cm. 

after it was purchased (and has never seen it since). 

The community of ceramists working here. 

legacy of the Ceramics Department closed down 

in 2001. has fostered talent such as that of 

Jeannie Hodge and Steve Hudson. These friends 

have a part in his direction. as companions and 

fellow travellers. as much as the influences of 

his career and study. These include predictably 

Walter Keeler. Prue Venables. Gwyn Hanssen 

Pigott. the Japanese inspiration of Munakata 

Shiko. Kanjiro Kawai. Jun Kaneko and the 

Scandinavian influence via the Tasmanian Art 

School connection with Elina Brant Hansen and 

Arne Ase. Marimekko design and designer 

makers. Tony Stuart and Patrick Hall. have been 

touchstones in his direction. as well as the 

painter David Hockney. 

As the wind howls around this bitter Hobart 

night in the equinox month. battering the iron 

rooftops and whipping the wattle into a frenzy. 

there does seem an elemental connection 

between this work. its maker and its place of 

production; a certain battened-down resilience. 

It is there in the sustained effort underpinning an 

animated stillness. mineral in its stony materials 

and yet organic in its teeming pattern. eddying 

around. over and beyond the edges of the forms 

that contain it. The work he has prepared is cool 

and measured. a reckon ing to sustain the gaze 

that can hold steady in the thrashing and shifting 

of all weathers. 

Danielle Pacaud, a graduate of the Tasmanian 

School of Art, writes on ceramic art and makes 

thrown porcelain ceramics. 

Photography by Michael Stephens 


LESLEY SHUTILEWORTH 

From left : Sue McFarland. Bottles from the Bay; John Ferguson, Black Coral, saggar fired . 

An Annual Exhibition by the Victorian Ceramic Group 

Walking into Skepsi on Swanston I was caught 

up in owner, Anna Maas's enthusiastic response 

to the latest works of some of Victoria's leading 

potters, Her description of Showing off.. ,again , 

the latest exhibition organized by the Victorian 

Ceramics Group, "It's poetic - captures the 

mood perfectly". 

The subtitle of this exhibition - Excellence in 

Clay - connects with the poetic reference. This 

poetry, without the assistance of words, enables 

its maker to communicate ideas through the 

many choices of clay, form, surface treatment 

and firing. 

The irregular repetition of lines in black and 

white sing on robust Raku forms by Judith 

Roberts. The almost velvety black unglazed 

surface sets off the soft white crackle glazed 

lines which flow on strong and simple forms, 

The work of Di Kirk picks up on the black and 

white theme, offering a stunning display in the 

gallery window. Aiming to maintain a 

spontaneous freedom, while interpreting diverse 

source material, her work represents the visual 

thoughts of objects seen in the past. 

Bottles from the Bay by Sue McFarland whisper 

the rhythms of the ocean evoking memories of 

coral and seashells. The shapes and surfaces 

speak of antiquity. The surrendering of form 

to relatively uncontrolled firing refers to the 

changes that are wrought on objects in the 

ocean depths. Alluding also to the ocean, Liz 

Low's softly thrown porcelain with a wash of 

blue green glaze makes reference to waves. 

Sea nymphs and lidded boxes, by Helen Young, 

provide another seaside reference in softly 

burnished coiled forms impressed with shells, 

rocks, coral and other found objects. 

Opening the exhibition, Leanne Willis, Director 

of the Shepparton Art Gallery, commented on the 

need to be surrounded by beauty and quality 

work. The pieces on display, she said, meet both 

criteria and present some interesting directions 

in the work of exhibiting artists. She spoke of 

"the many, many hours of work behind all these 

beautiful pieces," and reflected that the public, 

on seeing finished works, are unaware of those 

smashed by hammer, in the pursuit of perfecting 

an idea or form. 

Eloquently revealing a story of "multi-layered 

readings between the personal inner world of 

walls and the architectural world where dwellings 

offer us protection." is a collection of pieces by 

Marrianne Huhn. The use of text as a decorative 

element re-enforces the poetic feel, providing 

stimulus for the viewer to interact and discover 

the ideas for themselves. 


From left: Glenn England. High Tea ; Judith Robert, Vessels. Raku fired. 

Inspired by a story which is essentially 

about the creative spirit of artists, Hedley Potts 

narrative works tell a visual tale of Beethoven 

writing "tanzmusik fur der Musikers der Drei 

Krahen" Potts takes artistic license in permitting 

the dancers at "The Three Crows," to be friends 

and relations of Pieter Bruegel's peasants, who 

would really appreciate a good tune. 

The miniature in nature-the small and often 

microscopic creatures, forms and patterns, 

inspires the surface decoration in Glenn 

England's High tea. Looking at a bigger picture, 

Jill Symes explores the human connection with 

landscape in her ruggedly simple "heart" forms 

Works by Marie Louise Anderson capture the 

image of soft folds and layering in fabric while 

Tony Conway drapes his vessels in a crystalline 

glaze. Also featuring crystalline glazes, the 

sensuous shapes created by John Stroomer 

push his medium, seeking a balance between 

form and clay. 

Declaring his personal pursuit of "the whole 

concept" John Ferguson presents intriguing 

surfaces on simple saggar fired doughnut shapes. 

Lene Kuhl Jacobsen's hand th rown bowls and 

vases display subtle decoration designed to set 

off the beautifully satin-like grey glaze. In contrast 

are the rich, glowing, honey-like glazes 

enveloping the slip decorated terra cotta ware 

produced by Jane Annois. 

Based on the "form follows function" adage, 

dictated by his training as a Mechanical Design 

Draftsman and Engineer, Brian Keyte is 

challenged to push beyond this to the artistic 

level in seeking to elicit an emotional response 

from the viewer. His classic copper glazed 

shapes are a tribute to this effort. 

Later in the evening Leanne Willis talked to me 

of being inspired, in her love of ceramics, by her 

father's extensive collection. She described the 

importance of being exposed to a range of work 

in order to develop an understanding and 

appreciation of the medium. Speaking 

enthusiastically about the work on display, she 

commented on the success of the exhibition and 

congratulated the Victorian Ceramics Group in 

working to raise the profile of ceramics. 

A footnote from the VCG Exhibition Comminee 

A proportion of the commission from sales at this exhibition goes 

to the VCG Fund for the Promot ion of Ceramics and will be used 

by the VCG for quality publicity of Ceramics as well as ass isting 

with the promotion of ou r Award shows. The VCG especially 

extends its thanks and appreciation to Anna Maas the Director of 

Skepsi on Swanston Gallery for her robust and consistent support 

of the VCG and the individual ceramists she represents 

throughout the year in her gallery. 

Showing ott ... again! Excellence in Clay. an annual exhibition by 

the Victorian Ceramics Group was held at Skepsi On Swanstan 

from 1 - 30 April 2003. 


e 

ANGELA MELLOR 

SoLo exhibition at Craftwest Gallery 

For the past year I have been working towards a solo exhibition at Craftwest Gallery in Perth. 

This project has been developed in conjunction with the Perth Lighting company Mondo Luce. and 

has involved working closely with Urs Roth. a lighting designer introduced to me by Gerry de Wind. 

Director of Mondo Luce. It was the Executive Director of Craftwest. Lynda Dorrington. whose insight. 

vision and sympathetic understanding of my work led to arrange a meeting with Gerry and myself. to 

discuss a possible collaboration. We were both immediately excited by the possibility of this new 

venture. This connection helped me to see my work in a new light. not just as freestanding works of 

art or sculpture but also as objects of light-both decorative and functional. I began to see my work in 

a commercial sense and it became quite an exciting challenge for me. The project has been 

supported by an Australia Council grant for new work. 

I have been working with bone china since 1991. when I studied in France with Sasha Wardell. 

an artist renowned for her slipcast bone china. While I was researching for a BFA Honours at the 

University of Tasmania in 1997. I decided to explore the translucency of bone china and also began 

experiments with bone china paperclay. I developed this research further during my MSG Scholarship 

at Monash University in 1998. Light and organic form became the basis of an aesthetic in translucent 

bone china. 

My experiments with bone china paperclay. a recipe I developed myself. provide an ideal way for 

me to explore translucency. allowing me to replicate the textures in nature. which most inspire me. 

Initially. I began inserting small fragments of texture into the piece. which allowed the light to filter 

through. More recently I have handbuilt pieces with torn strips of textured paperclay as can be seen 

in my Arctic Light series. and by further manipulation created some folded sculptural forms. Urs. has 

fitted these with small LED lights setting them onto a black granite base and they have now become 

an illuminated sculptural work. A freestanding table light has also been designed using a small Arctic 

Fold suspended on a curved metal rod attached to a small granite base. It has been a challenge and 

an inspiration adapting my ceramic forms to both decorative and functional purposes. and the same 

form may appear in several works. each time interpreted slightly differently. 

The Cretaceous Ught series was inspired by a visit to Penguin Island in WA. where the rugged rock 

formations were encrusted with fossils and shells. This gave me the urge to replicate this texture in 

paperclay. which I then developed into a cylindrical table light. wall light and pendant lights. In daylight 

these pieces have a subtle texture of shells and fossils but with an electric light they come alive. like 

some prehistoric fossils from the seabed. 

I then began to look at the mould forms which I have been using over recent years. and decided 

that these could work well as multiples. The Coral Cluster table lights were a development of my Sake 

Cups. the same form but a different surface design based on coral. The design was painted on with 

acrylic and washed back to create a relief design. Under direct light this also accentuates the varying 

degrees of translucency. This design was also used on a larger scale for the large cone shaped 

pendant and wall lights. Pleuractis is the name of the type of coral from which this design was 

derived. Holes were made before firing and I had to work out the shrinkage rate to accommodate 


- ----- -------, 

Clockwise from top: Arctic Folds, hand built bone china. paperslip; Fossi! Bowl. bone china with paperslip inlay. h.1 a.5cm; 

Cretaceous Light (detail). bone china. paperslip. 

the light fittings and metal rods. Metal nipples 

were designed and made to connect the cup to 

the rod . It was decided to make these in groups 

of twos. threes and fives. 

The idea of a large installation of spotted 

cones on a reflective black granite base each lit 

by a small LED light appealed to me, giving a 

dramatic reflected double image. The inspiration 

for this came from a photograph of a polyp of 

Dendrophyllia, a host of yellow spotted 

translucent tentacles exposed by light. seen near 

the Perth coastline at night. I also liked the idea 

of simply using the largest one of these forms as 

a table light and single wall light. Again holes had 

to be incorporated to house the wall fittings. 

Working on this project has allowed me to 

forge new ground in my practice through 

innovative collaboration w ith skilled industry 

professionals, and represents the culmination of 

a decade of research . Since coming to Australia 

in 1994 light has played an integral role in my 

work. I had never experienced such clarity of 

light before and I could see that my chosen 

medium bone china was perfect to portray the 

captivating quality of light, as can be seen in my 

recent work Ocean Ught. 

E: angela@ange!amellor.com.au. Web: W'NW.angelamellor.com.au 

This exhibition opens at Craftwest Gallery. in Perth. WA on 27 Nov. 

Angela Mellor 

Photos: Victor France 


• 

In context 

SUE BUCKLE 

Jasmine Scheidler, 

Object D, 2002 . 

ExpLoring the scope of AustraLasian ceramic art 

The second Australasian Ceramics Triennial, 

held at Campbelltown City Art Gallery mid year, 

was a major ceramic exhibition showcasing 

work that exemplifies the vibrancy and diversity 

of ceramic art practice in both Australia and 

New Zealand. Gallery Director Michael Hedger 

described it as "a signpost of contemporary 

ceramic practice". It was certainly that. and 

most importantly, it included the work of not 

only established artists but also some very 

exciting work by emerging ceramic artists. 

The curator, Robert Reason of the Art Gallery 

of South Australia and the exhibition committee 

of Michael Hedger, Renee Porter, Janet 

Mansfield and Michael Keighery brought 

together the work of fifty five contemporary 

ceramic artists to present a sweeping 

landscape of powerful creative endeavour. Even 

the great expanse of the Campbelltown City Art 

Gallery barely contained it. It was also a rare 

moment to see such a range of ceramic art in 

a single exhibition. 

I entered the first room of the gallery and was 

immediately struck by the movement and sheer 

presence created by the artworks. The walls 

and the plinths all carried ceramic artworks that 

seemed to shimmer and vie for immediate 

attention, They appeared to jostle, barely able to 

stand still, eager to take their place centre stage 

with me, the viewer. 

A powerful beginning and a feeling that was 

sustained through the entire exhibition. 

On reflection it is not so surprising that the 

sense of movement was so palpable. After all, 

ours is an art created by movement- the 

rhythmic movement of the hand, or the potters 

wheel, or both. Work is alive when it retains this 

dynamic element, when the eye is drawn over, 

around and through the piece. Merran Esson's 

large slab and coil built vessels Daubleshot 2 & 

5 draw the eye in such a way, as do Junko 

Asaba's more delicate pieces Space Within 1 & 

3 and Peter Maroussis' sculptural work, Artemis. 

Contrasting this were works that had a 


stillness, a quietness that also focused attention. 

Two such pieces were the soda fired works, 

Wave Plate and Bowl by Gail Nichols. Developed 

over many years of detailed research into not 

only form but also materials, the glazed surface 

appears to grow from within the form. It spills 

out and compounds the softness of the throwing 

technique. Louise Boscacci and Angela 

Valamanesh have both mastered surfaces 

referencing the landscape that are quiet and 

reflective, drawing the viewer closer. Their 

interpretations of landscape remind us of the 

power of the small detail and the effect of sun, 

wind and rain on large and small alike. These 

pieces demanded a pause, allowing the mind to 

wander around and through endlessly. 

Australian and New Zealand ceramic art is 

unique in the world because it is not born of a 

strong, single cultural tradition. Rather, ceramic 

artists from both countries have always drawn 

from many traditions- those of both Europe and 

the East. These have been combined and 

developed into a truly original statement by 

several generations of ceramic artists. This 

exhibition includes many pieces that reference 

traditions but at the same time challenge them. 

This challenge gives the ceramic works a new 

place and power. Moraig McKenna's Embodied 

Surface and Melina Monk's Full Moon take the 

technique of anagama firing and produce 

elements, that when combined, or woven, 

produce works that shimmer with lightness and 

grace. They still bear the markings of flame, of 

wood ash, of smoke. They have survived the 

extreme stresses of days and nights of firing 

and yet demand a different view of this process 

and its effect on the clay surface. 

Jane Sawyer's Pillow Series reflects her 

training in the Japanese tradition of throwing. 

Her forms appear barely touched by the hand 

and the terracotta clay has a new softness and 

lightness which is unexpected. Peter Ward's 

Lucky Country teaset takes images and 

techniques that reflect the easy approach we 

Tracey Rosser. Small Round 112. 2002. decals. ceramic. 4 x 14cm. 


have to multiculturalism-valuing and exploring 

difference tlnd then combining it to make 

something new. 

Just as tradition is seen as something to 

explore and challenge, so are the very materials 

that are the basis of our process. This exhibition 

provides some interesting insights into the very 

building blocks of our art. Several artists have 

used the materials which all ceramic makers 

are familiar with and pushed the boundaries. 

Foremost in this is the work of Jasmine Scheidler, 

Object D. This piece very powerfully references 

geology and chemistry but also sociology and 

pure humanity. Rowley Drysdale's Nicho Negro 

combines feldspar and terracotta to produce a 

powerful object. Both of these works are 

fascinating and very challenging. Doris 

Rainsford's Domestic Weaponty references other 

materials. Her work takes on the patina and 

apparent strength of metal. Nicole lister's A Big 

Wmp reinterprets the fragility of paper objects 

and makes us reconsider simple, familiar. 

everyday objects. 

A sense of humour is very much a part of our 

identity and this is certainly richly explored in the 

exhibition. Gerry Wedd's, Blue Shadow II is full of 

irony. Rebecca Chapman's Kewpie 2002 with its 

caravan and car reflects a holiday lifestyle 

typically Australasian. Whimsy is a powerful 

element in Amanda Schelsher's figurative 

sculpture, Nest or Jenny Orchard's Daughter of 

a Rainmaker weeps for kangaroos. Playfulness 

abounds in Fleur Schell's Infundibular - interactive 

sound tunnel. I like the naughty feeling that this 

piece engendered - I at once wanted to try to play 

it and turn it over in my hands but felt that would 

be 'naughty' given the context of an exhibition. 

Howeve r, it definitely left me pondering the 

possibilities with a smile on my face. 

Two years ago I visited New York and 

Washington. In both places I visited many 

ceramic art galleries including the huge Renwick 

Gallery and SOFA NYC. What surprised me about 

the ceramic work I saw was the almost complete 

lack of vessel forms. It seemed that there was no 

place for the well deSigned and made functional 

vessel. Fortunately this exhibition includes many 

superbly made vessels. Vessels made to hold and 

use, to arrange on display or to fill. There are the 

beautiful groupings of vessels such as Sandra 

Black's 3 Rippled Bottles and Stacked ripple 

dishes or Christopher Plumridge's Pair of lime 

green 'zero'teacups. In both cases the vessels sit 

quietly together, each resonating with the other 

but each waiting to be held and used. Tracey 

Rosser's Small round #2 grouping of simple 

forms were the perfect foil for her colourful, 

intricately designed surfaces. As a group the 

energy created between the pieces was palpable. 

Other singular and well resolved vessels included 

Peter Wilson's Bowl with its sensuous crystalline 

surface, Suzie McMeekin's timeless Celadon 

bowl and the quirky Fruit platters by Janna Ferris. 


From top: Sandra 

Black. Stacked Ripple 

Dishes. 2002. 

porcelain, white glaze. 

h.e.5cm; Gerry Wedd. 

Blue Shadow II. 1999- 

2000. 18 x 45 x 63cm. 

Facing page: Malina 

Monks. Full Moon 

(detail). 

I am no stranger to contemporary ceramic art 

practice-over my ten years involved with Pottery 

in Australia magazine, I was always excited by 

the diversity of ceramics produced in this 

country. Even whilst the number of educational 

institutions teaching ceramic art contracted (and 

contracts) and fought (and still fight) battles on 

every front with bureaucrats, it seemed that the 

work and the enthusiasm of the artists using 

clay, continued undaunted. New heights are still 

scaled and new artists emerge to challenge and 

extend ceramic art practice. 

This exhibition is a testament to the skill and 

the creativity of the artists represented. It also 

represents the endeavour and dedication of the 

teachers who pass on skills to new generations 

of ceramic artists. The work in this exhibition is a 

culmination and all this provides the viewer with 

a very positive and optimistic outlook on the 

state of ceramic art practice both in Australia 

and New Zea land. 


FRANCESCA BEDDIE 

The Gift of Fire and Clay 

For nearly two decades the works exhibited in 

The Gift of Fire and Clay were largely forgotten. 

They had been packed in cardboard boxes when 

their creator, Cecily Gibson, decided to move 

from Canberra to Maleny, Queensland, intent on 

creating a sub-tropical garden and finding new 

influences for her work. Before the boxes could 

be unpacked, a serious car accident ended Cecily's 

potting career. She returned to Canberra and the 

boxes went to her niece, Kathy, for safe-keeping. 

Earlier this year, Kathy's plans for renovation led 

to their rediscovery under her house. 

Unpacking the boxes after all this time was like 

a school reunion, a joyful meeting up with old 

friends. Cecily and a friend of forty years decided 

to mount an exhibition to put this remarkable 

collection on display and to find new homes for 

the pots. The show, aptly named after Cecily's 

autobiography, The Gift of Fire and Clay, was an 

unqualified success. The works were greatly 

admired and eagerly bought. 

Opening the exhibition on 7 September at 

the Watson Art Centre, home of the Canberra 

Potters' Society, acclaimed science writer, Ann 

Moyal, said that there is something consistently 

striking about Cecily Gibson and still striking 

about her in her early 80s. "She has always 

wanted to taste the richness of an independent 

life and engage in the creative pursuit of beauty 

and harmony." Ann added that 'strength and 

elegance' had defined Cecily's work. 

On the last day of the exhibition, Cecily's 

face showed torn emotions as she farewelled 

the pots, reluctant to do so, yet so pleased that 

they would again be on display, their beauty 

enhanced by light and admiration. 

Cecily Gibson was born into a family of eleven 

in Yass. Her greatest childhood influence was her 

mother, Mary Ellen, who offered love, faith and 

counsel to all her children. Mary Ellen's initials 

became Cecily's hallmark; a way of remembering 

her mother who died while Cecily was becoming 

a potter in Japan. 

Cecily trained as a nurse and was working in 

Canberra when a friend took her along to a 

pottery class. This gesture of companionship 

changed Cecily's life. Later, another friend, 

from Japan, gave her a small vase. The moment 

she held that pot in her hand, Cecily understood 

the potential of clay and was propelled into the 

artistic world. 

Next day, she decided to take her pottery 

classes more seriously and under the direction 

of Henri Le Grand started, she says, to make 

some decent pots. Henri suggested to Cecily 

that she should give up nursing and become a 

potter. It was he who pointed her in the direction 

of Japan, saying that was where she must go to 

learn to be a serious potter. 

In 1960, Cecily became not only the first 

Australian to study pottery in Japan but also the 

only woman in a potter's workshop in the village 

of Mashiko. There, Cecily began to understand 

the art of pottery. Seeing her fling clay onto the 

wheel, one of her Japanese workmates 

commented, "Clay is your friend. Treat it gently." 

Cecily went on to learning how to coax rather 

than conquer clay-with marvellous results. 



On clay 

Every expedition {around Canberra to collect 

clay] was an exercise in learning, experiment and 

discovery ... Always I would think, my eyes are 

the first human eyes to have seen this clay since 

the world began. I used to feel elated at this link 

with eons and the way that speck that was me 

fitted into the timeless saga. This was just one 

of the reasons why I loved being a potter. 

Extract from The Gilt of Rre and Clay. Ginninderra Press. 2000 

From Mashiko, Cecily went to study in Tokyo 

and then to Kyoto where she had the unique 

opportunity of studying as a private student with 

the most eminent Japanese potter of his time, 

Kenkichi Tomimoto. Tomimoto had been 

impressed by the work of the young Australian 

and invited her to his studio where he introduced 

her to the fine art of porcelain and the wonder 

of seeing perfectly pure white pots emerge from 

the kiln. 

Before leaving Japan in 1964, the Mitsukoshi 

Gallery on the Tokyo Ginza, where she had 

exhibited earlier with a group of others, 

approached Tomimoto to ask if Cecily could 

do her own show at the prestigious gallery, He 

agreed but sadly died before the exhibition 

went on show. When she returned to Australia, 

Cecily's achievements were recognised by the 

Prime Minister, Sir Robert Menzies. 

She settled in Canberra, building her own kiln 

and later gallery, and drawing inspiration from 

the natural environment. her close circle of 

friends, music and theatre. While Canberra was 

to become her anchor, she did go abroad again, 

in 1968, on a Churchill Fellowship to Mexico 

where she worked with the noted fine arts 

collector, Fedrico Canessi. The influence of 

pre-Columbian motifs is clear in some of her 

work, particularly her jugs. 

On music 

My life has been silkened with a symphony of 

sounds ... there are the tunes associated with 

special times, dates and places ... there are the 

memorable sounds of the kota-the stringed 

instrument of Japan- the guitars of Mexico and 

the dancing feet of Spain which can in seconds 

transport me back in time and space. Most 

evocative to me are the roar of a kiln and the 

sounds of glazes forming at temperatures of 

thirteen hundred degrees centigrade, combined 

with the brilliance of white-hot heat seen 

through spyholes. 

Extract from The Gift of Fire and Clay, Ginninderra Press. 2000 

A remarkable aspect of Cecily's pottery is its 

ability to absorb qualities she admired in other 

cultures while retaining a strong affinity with 

her own country's sense of space and light. 

Her pots are products of Australia, which use 

local clay and glazes. They capture the colours 

of eucalpyts or South Coast rockpools yet never 

stray from the technical excellence instilled by 

her Japanese masters, 

The exhibition also demonstrated Cecily's 

unquenchable thirst for inspiration. While there 

is continuity in her use of texture and a strong 

theme of the Australian bush in the colour of her 

glazes, her pots vary tremendously in shape and 

temperament. For Cecily, the notion of producing 

large numbers of the same item is anathema, 

When she sat at the wheel, she allowed her 

mood to decide on the pot she would make, 

each becoming a one-off original imbued with 

its own personality. 

Cecily's art is exhibited in the National 

Museum of Modern Art, Kyoto. She has also 

recorded her life in an autobiography, The Gift of 

Fire and Clay, published by Ginninderra Press in 

2000. The exhibition of the same name was a 

celebration of a lifetime's achievement and an 

occasion to bring together old friends and new. 


megan puL 

GORDON FOULDS 

Srill. bottle forms. bowls and dish. reduction fired stoneware. 

A South-east Queensland potter 

Megan Puis is rapidly becoming one of South East Queensland's best known and most highly 

respected potters. Just over a decade ago Megan arrived on the Gold Coast from Taree, and 

worked as a production thrower at a gallery at Sanctuary Cove. Upon leaving this position, she 

established her own studio and from that time has regularly exhibited in both solo and group 

shows. Her exhibitions have shown a positive progression from her earliest solo shows to the 

present. Beginning with an exhibition called The Lava Flow Collection consisting of copper red 

pieces, she moved on to a largely black exhibition titled Obsidian Obsession . Following a workshop 

with Jeff Mincham, she began hand building and now moves freely between works which combine 

throwing and sculptural techniques 

There is a most enjoyable and happy story to her most recent exhibition, titled Still which was 

shown at Fusions Gallery in June 2002. Recently her mother who lived in the country was packing 

up an old house where she had lived for much of her life, to move to another town. Megan went to 

help her and discovered a lot of old objects and wares which had been relegated to dusty corners in 

a neglected shed. With the passage of time, they had mostly been replaced by plastic. They would 

now be regarded as artifacts of an earlier time in Australian life. They included such things as 

demijohns, old oil cans, coloured bottles and tin containers. 

These items were the inspiration for the exhibition, and must have inspired the public because 

much of the exhibition was sold. Using only blue and green celadon and tenmoku glazes, she 

returned to her throwing skills. Superb pieces all. they grouped together beautifully in the style 

of a latter day Morandi painting. An exhibition of this calibre must do much to further Megan Puis' 

already burgeoning professional reputation. And while enjoying her work for over a decade, we will 

look forward to further developments and directions in this artist's career. 


GORDON FOULDS 

Tea pot. underglaze stain. 

transparent glaze, 11 OOc. 

A potters journey 

"Quite unintentionally. my father helped me choose my career." Melbourne born. Jena Bedson 

laughs as she recalls attending her first clay workshops at the age of fourteen. "My parents sent 

me to an arts workshop during school holidays; one week of clay and one week of drawing. And 

at the end of it when I told them that I was going to be a potter. my father was horrified. Like most 

men of his generation and day. he believed in the then current work ethic which would have me 

become a secretary. work in a bank. or pursue tertiary studies. But no ... I was hooked on clay. I had 

made the decision". 

Jena had the advantage of living in Warrandyte. a part of Melbourne long renowned for arts 

activities. Upon leaving school.she spent two years training with the Victorian salt glaze potter 

Christine Wright. With her teacher. she frequently went digging the local clays which they mixed 

with commercial clays. and learned how to make a range of salt glazes. skills that she was to use 

for many years. At the same time she also attended classes at the Warrandyte Potters Cottage. 

Jena moved to Queensland in 1980 and upon arrival she quickly involved herself with the clay 

community of South East Queensland. She set up studio at Broadbeach and the local master potter 

William Reid became her mentor. "A kind and generous man. he taught me much about throwing and 

glazing. and was the biggest influence on my work for some time." she says. 

Jena spent time working in New Zealand. Mexico and the United States where she first encountered 

"a wonderful contemporary style of ceramics". The impact was enormous. and changed her way of 

thinking. She discovered that the emphasis was very much on decoration using coloured slips and 

underglaze stains. which she found "totally inspirational". She was also inspired by the ceramics of 

the tribal Mexican Indians with their intense colours and high energy levels. The influences of her 

travels very quickly manifested themselves upon her return home. with the introduction of a whole 

spectrum of colour and a much more creative approach to design. Whilst continuing her own studio 

practice she worked as a production thrower at Javeen Bah and Cronulla Potteries and refined her 

throwing and time management skills. 


A move to Brisbane saw Jena working as a 

specialist craft teacher with the Autistic Therapy 

Centre. and later in Northern New South Wales 

she designed a programme called Clay Play For 

J(jds which she took into primary schools 

throughout the region. The programme 

consisted of play-making and story-telling 

followed by clay workshops w here the children 

would make characters and scenes from stories. 

Jena later returned to full-time studio practice 

feeling ready to develop her own unique range 

which began with ladles. Domestic ware most 

appealed to her, as she enjoyed the thought that 

people would use it every day. She liked the idea 

of combining the practical and the decorative. 

Her studio in the rainforests at Tomewin above 

the New South Wales/Queensland border was 

surrounded by intense colours and she loved the 

wild life which teemed there, all of which 

resonated with her both spiritually and artistically. 

Enormous numbers and varieties of parrots and 

other birds, as well as the beautiful Birdwing 

butterflies abounded throughout the property. 

Her environment was soon reflected in her work. 

The ladles combine all the qualities of energy 

and colour that she had absorbed from her 

overseas travels, and used and developed since 

that time, plus the colours of the Tomewin 

rainforest. with the skills of throwing and mixing 

glazes that she learned throughout her career. 

Her range is very theatrical and is inspired by 

Brazilian Carnivale figures. She calls the mugs 

her Divine Divas , and they have led to the rest of 

the range. She uses Keanes white earthenware 

clay and Cesco underglaze stains, sanding and 

glazing each piece while green. They are next 

bisque fired to cone 06, then clear glazed and 

fired again to cone 02. 

The range is now stocked by selected galleries 

and gift shops in Victoria, New South Wales and 

Queensland, and has been considerably 

expanded. Accompanying colourful bowls, 

some of which are mounted on tripod legs, are 

Lade!s, underg laze slain and transparent glaze. 11 ~Oc 

amusing ladles and salad servers. The handles 

assume humourous human characteristics while 

the end of each handle carries on the carnivale 

theme with faces which put them firmly into the 

Divine Diva family. Teapots are brightly coloured 

with handles and lids featuring the female/male 

characters, while a set of wall hangings 

continues the theme. 

Jena recently returned to Victoria and it will 

be interesting to see how this change of 

environment influences the future direction of 

her work. She is sure that it will and says that 

her immediate environment has always been 

her major influence. Let's hope that the 

whimsical and free spirited nature of her 

work will remain unchanged. 


JANE ANNOIS 

View of Potters M arket. Charavines. 

Charavines on Lake PaLadru 

This year the European heat wave tested the stamina and perseverance of the potters taking part in 

the "marche de potiers". As Parisiens were tragically succumbing to the extraordinary conditions, the 

potters around the countryside were firing their kilns and standing behind their pottery displays during 

day upon day of 40c heat. Despite the popular myth of Australian bravado, raku firing to prepare for 

one of these markets was Simply foolhardy. I had been invited to take part in a market at Charavines, 

a picturesque village on the banks of Lake Paladru, not far from Grenoble and the Alps. 

It was to be the last potters market the local council would fund, as they intended to divert the 

money to another arts field. However, they intended to go out with a bang. Six international ceramists 

were invited, from Spain, Austria, Croatia, two from Italy and Australia. A series of ceramic exhibitions 

celebrating both contemporary and historic studio ceramics were held locally and regionally. This was 

complemented by a series of ceramic workshops, in which I conducted one in raku. 

The two most impressive exhibitions were D'Argiles I'Expo, an exhibition of the 100 professional 

ceramic artists in the Rhone-Alpes region, and Scuptures ceramiques contemporaines, an exhibition 

of ceramic sculptors by three of the most respected in France, Dominique Bajard (recently at Bendigo 

ceramics conference). Michel Gardelle and Lionel Rister. This was held in the 'Grange Dimiere' built 

over 500 yea rs ago to store farm produce and grains. 

The ceramics exhibited at the market represented a cross section of contemporary French studio 

ceramics. There was an interesting mix of raku, terre vernissee (slipped and decorated terracotta]. 

sculpture and some stoneware. Although the interest and indeed passion for woodfiring exists, it is 

difficult to market and remains esoteric. 

Proportionally, there are far more raku potters in France than in Australia, who work solely in this 

medium and live from their work. The process is understood and familiar to the public, who 

appreciate individuality and interpretations of the technique. On the other hand, the French, however 

contemporary their tastes and interests, will always hold a place for the traditional in their daily lives, 


M arianne l angebert , Raku ware. 

hence the passion for 'terre vernissee'. The 

terra cotta pottery, slipped and decorated with 

oxides, is warm in colour and feel. It is 

functional and robust. defined by thick rims 

and chunky handles. It glows rather than 

shines, as the rich honey from the iron 

contrasts well with copper brushwork or slip 

trailing. Pottery such as this has been gracing 

French tables for centuries, but now studio 

potters are making their mark, giving the work 

their own character, never losing sight of its 

intrinsic function. 

The invited potters offered new ideas and 

va luable exchange. They changed the 

dynamics of the market. encouraged the 

potters to look beyond their own horizons and 

think more broadly about the ceramics world. 

There was a genuine warmth, curiosity and 

sharing. The market was the venue, the 

forum for potters to not only sell work to the 

public but to enjoy each other's company. The 

most important part of a French potters market 

is the food, wine and conversation. 

Isabella Vezzani from Florence was a 

sculptor working in raku. Her work was bold 

and adventurous, expressing her joy of life. 

Marta and Karl Pauline arrived in their va n, 

having driven all the way with their pots from 

Croatia. Their work was more whimsical, ranging 

from functional decorated bowls to delightful 

figurative sculptures and brooches. They have a 

studio in Croatia and a showroom in Slovenia, 

buy their clay and glaze in Italy and travel widely 

with their work. 

Barbara Slivova, the youngest of the potters, 

in her early 20s, eame with her father by van 

from Austria. Both father and daughter work as 

sculptors and share a studio. Her work was 

based on the human form but extended to focus 

on voluptuous curves and rich surface textures. 

Fabrizio Tranquili was true to his name, very 

laid back. He spends half his time in the south of 

France and half in his native Florence, producing 

a functional midfire range. A perfect lifestyle? 

Pep Gomez was last seen with a broken down 

van on the Spanish border. A shame, as his 

work is as individual as its maker. Raku fired, 

but different to any work seen in this country. 

It is spontaneous and skilful, with a wild sense 

of humour. 


- - ---- - - 

Francoise Nugier - Terre vernissee. 

All these potters travelled vast distances to 

participate. Travel expenses were assisted by the 

local council. The council. region. local museum 

and ceramic association together also covered 

expenses such as ceramic exhibitions and 

openings. extensive publicity and meals for the 

international potters. 

Drawn from this experience and having taken 

part in other potters markets in France over the 

last six years. I am continuing to organise an 

Australian version. The Pottery Expo . The Pottery 

Expo will be held for the fourth year in 

Warrandyte on the last weekend in February 

2004. and for the first time at McClelland Gallery 

and Sculpture Park in December this year, 

Local government does not support us as 

much as in France. but I believe in time, as 

the value to the community as a major local 

cultural event is perceived, increased financial 

support will enable us to build this event to 

extend its program. 

Already, we are incorporating demonstrations. 

community participation through an "ephemeral 

sculpture", education. through the involvement 

of tertia,ry courses and students. information on 

materials and equipment with Clayworks. 

associated local ceramic exhibitions. food. local 

musicians and of course about 40 selected 

ceramic artists. However we cannot pay travel 

expenses! Even so we are welcoming potters 

from interstate, regionally and even one or two 

from overseas. 

We are looking forward to holding The Pottery 

Expo at McClelland Gallery. There are over 20 

acres of landscaped gardens and native bush. 

which provide a spectacular setting for outddoor 

sculpture. At present McClelland is hosting the 

McClelland Survey and Award ($100,000) for 

contemporary sculpture. 42 Australian artists 

were selected to participate. Visitors can now 

see these sculptures by following a trail through 

the park over the next six months. 

The Pottery Expo and associated activities 

will be held amongst some of these sculptures. 

around the lake, in front of the Gallery on 

Saturday 13 and Sunday 14 December 2003. 

For more information visit W'NN, potteryexpo.com 


VIPOO SRIVILASA 

An exploration of art, craft, culture and food 

In July 2003 with the help of Destination Management. I created and led the Pottery Craft and 

Cruise tour to Thailand . The tour was inspired by my belief that different cultures do not have to 

come together in fear and loathing, but can complement each other through the power of art and 

imagination. I hope that this event will help people from both Australia and Thailand understand 

each other's cultural differences and build up a good working relationship between our two cultures. 

An Australian Culture tour from Thailand is planned for next year. 

Before departure special arrangements were made for participants to gain access behind the 

scenes, to see work in progress and to watch demonstrations of making pottery and crafts. A 

selection of Thailand's finest and most famous restaurants was the venue for lunches and dinners, 

offering superb Thai cuisine as an added bonus to the program of studio visits. I have chosen to write 

about some of the highlights of the tour which will be of interest to practitioners and ceramics students. 

The Temple of the Emerald Buddha and the Gra nd Palace 

This is the very first place we visited. I chose it to start the tour because 

it is a place which is central to Thai culture. To gain an appreciation and 

understanding of Thai craft you need to visit this place. It is perhaps the 

greatest spectacle for the visitor to Bangkok. It consists of over 100 

brightly colour buildings, golden spires and glittering mosaics, and dates 

back to 1782, when Bangkok was founded. The Grand Palace is nowadays 

used only for occasional ceremonial purposes and is no longer the royal 

residence. Visiting Bangkok without visiting The Temple of the Emerald 

Buddha and the Grand Palace is like not visiting Bangkok at all. 

Jakkai Siributr 

Jakkai Siributr is a well-known painter and textile artist in Thailand. His 

works show the skill of pushing traditional technique to the edge of the 

modern contemporary world. Jakkai was kind enough to let us visit him at 

his house. He also organised a short slide presentation of how he creates 

his unique artwork and where his inspiration and ideas come from. It was 

one of the best slide talks of our tour. Jakkai also showed us his work up 

close (and personal) and discussed his use of material, colour and 

technique. He also gave some tips of "living with silk" as well. We checked 

out his studio which is located underneath the house, and saw his work in 

progress. We then moved on to H Gallery to see his latest exhibition Revel. 


Paitoon, The miniature artist 

At Kho Kread Island we visited a few local potters. One of them was 

Mr. Paitoon who specialises in Miniature tea sets (around 1.5cm high!). 

It was amazing to see him demonstrate on his miniature wheel, which 

he invented especially to make his miniature work. One group member had 

a hands-on experience on this special wheel and said that is was 

not as easy as it looked. All the tea sets are fully functional. The lids open 

and the spouts pour. He even carves fine detail on his miniature works. 

Paitoon's works are inspired by traditional Mon pottery, which is very 

famous on this island. 

Surojana Satabutre 

On Sunday afternoon after a big shopping experience at Jatujak Weekend 

market, we visited Surojana Satabutre. She is one of the leading ceramic 

artists in Thailand. Surojana greeted us with her secret home-made water 

melon icecream and fresh , very big Emperor Lychee. After enjoying the 

icecream we went inside and listened to her slide talk on her work. It was 

fascinating to see all those big installation works which were created by a 

tiny little lady. We also looked around her open plan studio and saw some 

big pieces created using her special egg carton technique. 

Silapakorn University 

We visited the ceramic department of Silapakorn University, a Thai art 

university. Here, not only did we look around the department. seeing the 

ga llery of student artwork, we also had a chance to listen to a short lecture 

about the history of Thai ceramics as well. In return some members of our 

group presented a short talk on their works to the students and teachers At 

Silapakorn we meet Prof. Sermsak Narkbua, who created a fabulous glaze 

from pig manure!! He said when he first moved to the area, there were pigs 

everywhere, His house was su rrounded by pig farms and it was very smelly 

so he had to do something about it. He then decided to make pig manure 

into a glaze. 

Tho Hong Tai and O-clay Ceramic Factory 

We visited these two factories in the same day and saw the contrast of 

the two fantastic factories operate. Tho Hong Tai is known as a traditional 

factory. It uses the traditional method of transferring knowledge and 

techniques from generation to generation. Large wood firing kilns can 

be seen around the factory. In contrast O-Clay Ceramic is a modern and 

contemporary factory, using new and cutting edge techniques to produce 

its products. Both factories are very successful in the ceramics 

marketplace. The owners of the two factories are also ceramic artists. 


Aka Wailai Gallery 

Aka Walai gallery is the first place we visited in Chiangmai. The gallery 

has very contemporary and modern design but still reflects the soul of 

Chiangmai. Aka Wala i belongs to a great couple Eakrit Pradistsuwana and 

Walailak Khenkum. Ekarit is a practising architect but fell in love with 

ceramics while his partner. Walailak. began an affair with textiles. They 

both produce a product range for the gallery. Apart from Ekarit's ceramic 

works I also love the wall hangings that Walailak designs. She uses leftover 

silk from cushion making to make the wallhangings which she says 

sell well. After enjoying the gallery and finishing shopping. Eakrit and 

Walailak served us homemade green tea cake and beautiful tea in Ekarit's 

teacups. It was very yummy. 

Nai Dee 

We had the opportunity to visit Nai Dee. a well known young emerging 

potter of Thailand. He and his partner. Mae A-ngoon invited us to their 

home which was set in a beautiful very peaceful little forest. We watched 

Mae A-ngoon demonstrate how to build her figurative pieces in the 

amazing open plan cottage which is round and built from wood and dry 

grass. It has a tree in the middle and it has no walls. completely open to 

nature. Nai Dee also showed us the kiln that he built near the house. 

Studio Naenna 

Studio Naenna Company is the marketing arm for a women's weaving 

group which was founded in 1986 in the north of Thailand. This group. 

known as the Weavers for the Environment. was initiated by Patricia 

Cheesman Naenna. an expert in antique. Lao and Tha i textiles. She is also 

a lecturer in Thai textiles. ceramics and contemporary design at Chiang 

Mai University. Patricia demonstrated indigo dying for us. She grows her 

own indigo plants as well. After the demonstration everybody went 

shopping and took examples of indigo dying and hand woven textiles 

back to Australia!! 

Apart from viSiting studio artists we had many other experiences of 

Thailand and Thai culture. We did a lot of eating (and even had a Durian 

tasting) and shopping. After long days of walking and shopping we went 

for a foot massage!! An amazing healing experience for our tired little feet! 

Finally I would like to thank Sue Buckle for her inspirational. support and tips (which were really 

helpful). Thank you to Pottery in Australia for providing magazines as a gift to each artist we visited. 

It is a great way to show them the diversity of the Australian ceramic scene. If you are interested in 

seeing some work of the ceramic artists we visited please check out this web site: 

www.thaiceramicsart.com 

The next trip is being planned so please contact me for more details. It will be a great fun again. 

Vipoo Srivilasa tel : (03) 9527 4441. email: vi poo@vipoo.com. web: www.vipoo.com 


partnership 

FIFI CAMPBELL 

Works by Andrew 

Cope in the oil 

kiln at Clayworks. 

The Clayworks Residency Program 

Clayworks Australia was established 23 years 

ago by potter Will Mulder. Over the years as 

Clayworks continued to grow. so did its input into 

the pottery/ceramics community. A commitment 

to supporting Australian potter became an 

essential part of the Clayworks philosophy. 

The Clayworks residency program began about 

10 years ago. Whilst visiting the post graduate 

exhibition at Monash University Caulfield Campus 

a very talented and aspiring young potter. named 

Andrew Cope. caught Will's attention. Will 

recognised Andrew's enormous skill and potential 

in his field and had the idea of offering Andrew a 

residency at Clayworks. By offering Andrew use 

of the workshop and facilities at Clayworks he 

could see that this was a way of nurturing and 

supporting Andrew in the early part of his career 

outside the college environment. Excitedly, Will 

rushed back to discuss with his business partner, 

Doug Hocken, the notion of Clayworks taking this 

gifted young potter under its wing. Hence, the 

birth of the Clayworks Residency programme. 

In June 2003. 10 years later, the new 

partnership of Max and Fifi. Doug and Sue 

farwelled Andrew. who has set up home and 

workshop at Byawatha in rural Victoria. 

Initially. the duration of this Residency was to 

be for a couple of years. even though there was 

no definite period set. As part of the two way 

relationship between Andrew and Clayworks he 

became involved in the technical development of 

Clayworks clay bodies and ceramic products. 

Andrew fired clay samples from Clayworks 

production for quality control. He tested clay 

samples and new claybodies as they were being 

formulated and promoted Clayworks when 

demonstrating around Australia. 

The facilities provided to Andrew included a 5m 

x 10m workshop space within the factory. Andrew 

had open access to all the machinery and 

equipment at Clayworks including all the kilns. 

Although Andrew did not conduct any formal 

pottery classes at Clayworks when firing the 40 

cubic foot oil burning kiln and the 30 cubic foot 

wood tunnel kiln. students from local universities. 

ceramic departments and TAFEs would be invited 

to to get involved in these firings and were able to 

put their own pots into the kiln. This was a great 

80 PIA · SPRING/ SUMMER 2003

--------------------------------------------------------- 

From left: Andrew Cope checking cones in oil kiln firing ; Oil kiln waiting to be unloaded after glaze firing at Clayworks. 

way of involving students in the firing process. 

According to Andrew, the long term benefits 

of working at Clayworks were being able to 

plan his schedules a long way ahead knowing 

that his facilities and workshop space was 

secure. He could organise his exhibitions, 

workshops and demonstrations well ahead. 

Over his years as a resident at Clayworks 

Andrew took advantage of the expert 

knowledge on hand with any technical problem 

that arose in the development of his work. 

Andrew could run his ideas by the team at 

Clayworks and get technical and practical input 

into his creative development. His knowledge 

and understanding of ceramic materials and 

techniques improved enormously. 

Andrew sees the friendships made in the 

period of his residency as being one of the 

highlights at Clayworks and will miss the 

annual special celebration of everyone's 

birthday. He will also miss having to cook the 

workers their barbecue lunch whenever there 

is an oil or wood firing! 

His new workshop and home at Byawatha is 

a world away from suburban Melbourne. There 

are no forklifts or heavy machinery or 

neighbouring factories. His workshop is 

surrounded by paddocks of sheep and cattle, 

wildlife, birds, trees and rolling hills. The 

alpine regions are visible on the distant horizon. 

Clayworks farewells Andrew feeling an 

enormous sense of pride and satisfaction in 

knowing that the company played a part in 

Andrew's evolution from the shy, gifted potter 

to the confident, self sufficient, business 

minded clay artist, who is able to inspire and 

entertain wherever he demonstrates. Andrew 

is a sought after, admired and respected potter 

who has etched his ow n place in the history of 

Australian pottery. The varied and numerous 

skills that he developed whilst at Clayworks. 

will hold him in good stead wherever he goes. 

Clayworks invi tes all interested potters, from all aspects of the 

pottery com munity to apply for the residency at Clayworks. 

Please send a written application to Fiti Campbell at Claj"Norks 

Australia PIL. 6 Johnston Cou rt , Dandenong, Victoria, 3175 or 

email to fifi@clayv./orksausua lia.com along with images of your 

work and any details of upcoming exhibitions, 


KIM NIELSEN -CREELEY 

Shirley Bond 

throwing pots. 

Flexing in, flexing out and giving up golf 

If you take a stroll down Russell Street at 

Inveresk be prepared for a total makeover at the 

ceramic studio. Originally founded in 1988 by 

Catharine Batten. Lisa Boyter. Zsolt Faludi. Rudolf 

Sibrava and Therese van der Aa the pottery 

operated as Ceramic 5 Studio. Catharine and 

Therese. the remaining partners. have sold up. 

Cath Wyllie. Fenwick Makepeace and Jilli 

Spencer have purchased the studio and premises. 

It will continue operating as Tin Shed Pottery. 

This is an important transformation and is a 

testament to the health and vigor of ceramic 

practice in the region. In addition to a change of 

ownership the premises have been re-clad. the 

interior re-organized and new tenants seconded 

to invigorate the practice. The Tasmanian Potters 

Society (Northern Branch) is moving in. bringing 

a healthy membership of over 40 clayworkers. 

Individual spaces are also rented out and shared. 

Every tenant comes with a rich history 

It is important to acknowledge the work of 

Ceramic 5 Studio. The studio has given access to 

local schools. adult education. practising artists 

and potters. The space has been utilized for 

exhibitions. residencies and workshops. Schools. 

clubs and tourist groups have been welcomed to 

tour. Gas and electric kiln access has allowed 

artists to flex in and out. working on specific 

commissions and community art projects. The 

aims have always been to provide working space 

for artists who would otherwise have given the 

craft away; to be an access studio for those who 

work at home and a centre for those seeking 

knowledge of the art of pottery and other 


Shirley Bond and Cath Wyllie unstacking Bisque. 

disciplines. Firings are booked and shared and 

there are many stories centered around the kilns. 

Against all the rules the frugal potters have filled 

the studio port-o-kiln to the hilt and slumped 

glass! Arlene Short, who until now has 

maintained studio space, cracked one load to 

find a bad batch of clay melted by flux, oozing 

and dripping over every shelf. That kiln has so 

far registered 949 firings and hosted suitable 

ceremonies for auspicious firings, such as 

the 500th. 

Catharine and Therese are certainly not leaving 

in total-they both have continuing commission 

work, making wares for local and national hotels. 

Therese is now renting space and Catharine will 

move in and out to work on various projects. 

The legacy they leave-a working studio, will also 

continue to work for them and Therese is more 

than happy for someone else to keep the books. 

They are also leaving a wonderful archive of 

meeting minutes with topics ranging from the 

signing of the original partnership agreement the 

fallibility of local clay, changes in management 

and arrival of a cat its care and eventual fate. 

There are albums of photographs, technical 

information, videos, letters, newspaper cuttings, 

certificates of appreciation, children's drawings 

and postcards. At least sixty artists have 

accessed the studio and as they have moved on 

messages have arrived from all over Australia, 

Asia, Europe, China and Russia. Everything has 

been kept and images recorded . 

Cath Wyllie is keen to acknowledge how studio 

access has allowed her to work and build up a 

clientele of outlets for her crystalline glazed 

wares. Wyllie Creations has operated from the 

studio for nine yea rs. Cath says access is the 

key. The new management hopes to continue to 

offer safe, affordable space for small business or 

artistic endeavor. Sharing space means access to 

equipment. promotion and cost savings. All the 

previous studio development work makes this 

possible. Personally and professionally she has 

gained from the knowledge, experience and 

encouragement of the previous partners. 

Fenwick Makepeace is a sculptural 

handbuilder. TAFE teacher Bernadine Alting 

recommended the studio where he has rented 

for two years before taking a partnership share in 

the new venture. After selling a woodwork 

business, the studio came along at the right time 

in his life. Fenwick wants things to continue in 

the same welcoming way remembering the 

feeling of belonging and trust from the moment 

Therese welcomed him and handed over a key. 

For him this is a generational change and there is 

a responsibility to continue the good work. 

For Jilli Spencer this is one of the biggest 


decisions in her creative and professional life. 

The element of nervousness she feels is a very 

positive energy and a commitment to the long 

term. Her wheel thrown and functional wares are 

outletted in Tasmania and interstate. she teaches 

at the local TAFE and makes her own special 

combination ceramic and basket forms. 

Particularly. she hopes this work will continue to 

evolve and grow in the stable environment of 

the new partnership. 

Other tenants are Steve Hudson. teacher. 

mouldmaker. and creator of larger sculptural 

installations; Shirley Bond. wheelthrower and 

vessel maker inspired by sea and shore and 

Monika Zechetmayr. mixed media artist with 

clay work evolved from landscape painting and 

drawing. Five other ceramists and artists are 

also joining the pottery as it changes hands. 

President of the Potters Society (Northern 

Branch) Ros Kingston is excited about the move 

because the membership will be able to learn 

and be close to professional potters and clay 

workers. The studio is also geographically close 

to the TAFE and University, at the Academy of 

Arts, Inveresk. She hopes the northern branch 

will liaise with the institutions and also make 

opportunities to sell and exhibit their work. The 

society is a grass roots organization that took the 

proposal from Tin Shed Pottery management, 

debated, gained consensus and voted to make 

the move. To enable that to happen. fund-raising 

started immediately with a cake stall in town. 

Kick-starting their new home base the group are 

acquiring finance to replace a tired electric kiln. 

Olive Newman, a past office-bearer and longterm 

member of the society, spoke with me 

about the forming of the branch. That is another 

story, because the branch grew out the activities 

of passionate individuals getting organised . 

Consequently adult and technical education 

courses began in the northwest and north of 

Tasmania. Olive gave up golf for pottery, and 

speaks about the early days from the perspective 

of a true romantic. Bea Maddock was her 

teacher, and truly inspired her. Most of the 

practitioners and tenants have links with 

educational institutions, past and present. 

Reminiscing over lunch she told me the founding 

members of the branch were thrilled to find clay 

and life outside the domestic sphere- "they were 

wonderful times", (we would)" almost eat the 

clay" and "have eyes only for clay" . All the 

original members were productive people-Olive 

has carved and made furniture, crafted 

patchwork quilts, lead light, mosaic, spun wool. 

knitted and made felt. Working weekends at The 

Grange in Campbell Town were organized with 

workshops given by, amongst others, Les 

Blakeborough, Gwyn Hannsen Pigott, Jim 

Nelson, Peter Rushforth and the memorable 

Raku workshop of Shigeo Shiga. There was a lot 

of cross-fertilization between the three branches 

and particularly the northwest branch of the 

Australian Potters Society. The northern branch 

officially started in the early 1970's and has 

survived to bring its working history to Tin Shed 

Pottery. Most of the practitioners and tenants 

have links with educational institutions. past and 

present. 

Fast forvvarding to 2003, June was a dedicated 

month for re-organising, moving in, moving out. 

meeting and making plans. Tip trailers were 

pillaged . It is so difficult to let go of something 

that might come in handy later. Wrapping wares 

and moving home was a wrench for Catharine 

Batten. but the ceremony of handling all that 

labor, packing it carefully, labelling and sorting is 

a kind of salve. There is still a studio to come to 

for meeting and working in. Business officially reopened 

on the 1 st July and on the 27th July Tin 

Shed Pottery hosted an exhibition of past and 

present members' work. Re-connecting with so 

many people focuses on the spirit of a 

functioning community and business oriented. 

energised working studio. Different narratives, 

different people-access for all. 


Journey 

HELEN MARTIN 

An expLoration of gLaze cLaybody and firing processes 

My adventure with Shino began early this year while formulating my independent work proposal 

for third year studies in Ceramics at the Canberra School of Art. I began my resea rch in the ANU 

library. I pored over books and journals, and searched the internet. It was immediately evident that the 

firing schedule played a vital part in producing luscious, tactile shino ware and that the claybody had a 

major bearing on glaze colour. 

Shinos were developed in the Mino area of Japan in the 16th century and were used to decorate 

tea ceremony ware. There were a variety of styles of shino ware, the major ones being :- Undecorated 

(muji) bearing a thick whitish glaze; Decorated (e) with an iron wash motif applied under the glaze; 

Mouse-coloured (nezumi) with a thick glaze over an iron bearing slip; Red (aka) with a thin glaze over 

iron bearing slip, and Marbled (neriage) where two different coloured clays were used. This milky 

white opaque glaze had an extremely high feldspar content resulting in an imperfect surface, yet 

suiting the flu id forms of the wares it covered. As a glaze, Shino is in a class of its own. It draws on a 

totally different aesthetic from other glaze groups, and its desirable features, such as crazing, 

crawling and pinholing, are considered to be faults in other glazes. 

I began the testing program by making hundreds and hundreds of extruded test tiles using a range 

of commercial clay bodies. Using Matrix software I developed a 21 blend triaxial. The planned firing 

schedules were:- standard reduction; reduction with a two hour oxidised soak, reduction with 

oxidised fire down; reduction with reduction fire down; oxidation with reduction fire down; woodfire 

and oxidation. A colleague was testing crystalline glazes in oxidation w ith crash cool and soak, so I 

put tests in that firing also, with some very worthwhile results. These test fi rings yielded an amazing 

array of possibilities, each with its own signature. The colours in general were milk-white, creamy 

beige, pale blue, pale green, and where the glaze was thin on a dark body, reddish brown. The glaze 

characteristic varied from a crackle and wonderful fishscale effect to thick luscious crawling. The 

Above (left to right): Tile, shine and iron glaze. RSF clay, 15 x 15cm; Tile, shine and iron glaze, JB1/#120 Terracotta. 


Above (left to right): Dish. shino fired twice with iron glaze in crazing. RSF clav. 16 x 12cm; Woodfired bowl and cup, 

2 shino glazes. RSF clay. 6.5 x 9cm. 

results from the woodfiring differed greatly from the gas and electric firings. The same glaze that 

produced white crawling in a nine hour gas firing became a smooth, lustrous gold in the three day 

woodfire, and the beautiful pale blue fishscale looked like blue crushed ice. Of the 21 test glazes 

there are only two or three that I could totally discard. Of the remainder, there are groups with similar 

characteri stics, and in all I have used ten glazes for further testing. 

My initial reaction to these tests was to go for a variation of colour. The two hour oxidised soak had 

shown a hint of colour on iron bearing bodies so I tried a five hour soak. The results showed that 

everything that happened in the two hour soak became exaggerated in the longer firing. Where the 

glaze was thin on a dark body, there was more reddish brown colour. Where there was crawling or 

peeling, it was more pronounced. The pale blue fishscale became a more distinct blue. Searching for 

more colour, I thinned the glaze and tried again. This is where I discovered the importance of glaze 

application. Sure, I got some colour, but some of the thickly glazed areas and drips and runs looked 

awful, not decorative. My shinos are extremely stable glazes and so I've learnt that if it is not right 

when it goes into the kiln, it will not magically be right when it comes out. I have tried dipping with 

tongs, dipping by hand, pouring and brushing with a few different hake brushes. 

As well as test tiles, I made cups and bowls for test purposes, and it wasn't long before I 

discovered that I had a major problem with porosity. While drinking coffee from a beautiful blue 

crackle cup, I noticed beads of coffee forming on the outside. Upon further investigation I discovered 

that this problem occurred with all the coarse clays I'd used : I had read conflicting reports about the 

suitability of Shinos on functional ware and started asking questions. One of the true characteristics 

of a traditional Japanese Shino is the crazing caused by glazelbody fit. The clays were coarse, and no 

doubt initially porous, but regular use would have filled up the gaps. I had no porosity problems with 

the fine white porcelain bodies I had been testing, or the terracotta, yet it was the coarser iron 

bearing clays that gave the most interesting results. 

I still wanted to be able to use these coarser clays for functional ware and settled on using an iron 

saturated liner glaze, On a dark body, the liner fired to an iron spot black, and the shino with varied 

glaze thickness ranged from red to thick white crawling, except over the liner, where it was white to 

grey with heavy black crazing. On a white body, the effect is similar without the red . The liner glaze is 

a medium brown and the craze marks a lustrous rich brown. Months of methodical testing have 

shown me that there is unlimited potential to explore with the Shino family of glazes. 

86 PIA - SPRINGiSU MM ER 2003

Clockwise from left: Snow Platter (detail). 3 shino glazes. RSF clay/JB1/#120TC. 29 x 22cm: Tile detail. 2 shino glazes over 

terracona slip. RSF clay: Tile detail. 2 shino glazes and iron glaze. JB1/# 120TC. 19 x 19cm: Tile. 2 shino glazes. RSF clay. 

19 x 19cm: Pear (detail) , shlno fired twice with iron glaze in crazing, RSF clay, 12 x Scm: Landscape platter (detail), 2 shino 

glazes. RSF/JB 1/# 120TC. 29 x 22cm. 


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4 

A taste of kiln building and the miracle of woodfire 

In the fi rst semester of 2002, Ian Jones, our 

experienced woodfire teache r, set a cha llenge 

for the second year students of the ceramics 

workshop to design, build, fill and fire a small 

'anagama' style wood-fire kiln in six weeks. We 

built it in the paved courtyard at the Australian 

National University School of Art which is located 

in the city centre of Canberra, Australia. A 

traditional anagama kiln is dug into the ground, 

providing bracing for the arch, but ours would be 

built above ground level and require steel 

bracing. The spirit of woodfiring is learnt th rough 

the whole process. Today we rarely experience 

such prolonged intensity in the struggle towards 

a common goal. 

The construction of the kiln began with 

planning the kiln at life size on large rolls of 

butchers paper, using the kiln shelves to 

determine the setting areas and the stoke holes. 

Our mini-anagama is a crossdraft kiln with a 

single chamber. Its external length is 5.2m; width 

is 1.5m; height of arch is 1.8m above the ground. 

It si ts on two layers of concrete blocks above the 

ground (29cm). The chimney is 4m tall. The kiln 

is built with a stepped floor creating an internal 

slope which facilitates the flame path. The 

fi rebox is 78.5cm tall and 40cm long. The first 

setting area is a brick thickness (7 .5cm) higher. 

This area is 70cm tall and 89cm long to the first 

side stoke area. It then steps up another brick in 

height to the second setting area which is 53cm 

tali and 72cm long to the next side stoke area . 

The last setting area is stepped up a further 

7.5cm and is 47cm high and 60cm long. Its 

internal capacity is about 1.8 cubic metres. 

Originally, we planned to narrow down the back 

end in order to create a stronger draught but 

finally it ended up with straight side wall because 

it increased the packing capacity, and made the 

construction and bracing of the arch easier. So, 

the internal width is the same throughout. 1.1 m. 

The anagama can normally accommodate at 

least 200 pots or more in every fi ring, depending 

on their sizes and method of packing. About 640 

bricks are used-normal house bricks are used at 

the lower bottom which does not have direct 

contact with heat from the flame; high alumina 

solid firebricks which are recycled from previous 

kilns are used for other areas. The arch was built 

from castable refractory laid on top of a shaped 

sand formwork. Beginning with the drafting of 

the lifesize design on paper it took us six whole 

days to transfer it from paper to reality- working 

from 9am till 4pm on each day. 

The firing was planned to reach Cone 11 in 

about 36 hours. But, after a few firings and more 


I I'Zclt! 

"l1JutI


BUILDING THE KILN 

DAY 1 - Start and build the base 

t') Our anagama on paper, (2) Base with concrete blocks and house bricks; 

DAY 2 - Lay bricks for side walls & build chimney base 

(3) Side walls and chimney base with mortar (5 parts fi reclay, 5 parts sand); 

DAY 3 - Lay side walls' bricks, build ash pit & kiln floor, shelves setting 

(4) Layout of firebox. ash pit (L71cm x W50cm x D23cm) and secondary air hole. (5) Determintng the positions of the floor's 

steps and stoke holes ; 

DAY 4 - Build the flue , stoke holes and finish side walls 

(6) Flue area. (7) Side stoke holes and finished floor's steps. 

DAY 5 - Build arch & blowholes, finish chimney 

(8) Stacking up piles of wood in arch shape. (9) Covering wood with bUilders film and then red clay sand to create smooth arch 

shape (10) Casting the arch. About 900kg of castables are used. (11) Chimney; 

DAY 6 - Clean up floor, finish arch , add the damper, finish the flue 

(12) Removing supports after hardening of the castables. (13) Insulating layer for the arch with lucerne chaff and sand mixture 

(10 parts sand, 2 parts clay, 2 parts lucerne chaff) and final layer with cement in the mixture for weather protection. (1 4) Damper. 

(15) Finished internal view of our anagam. 


DIANNE SUTTON 

A clay project at Stewart House 

In July and August last year I had the good fortune to take up the artist-in-residence position at 

Stewart House which is a hospital. charity and a school where disadvantaged children aged 5-17 

years visit for two weeks of respite care. The students receive medical. dental. optometry and 

nutrition screening with access to counselors as needed. During their stay the children follow a 

curriculum that emphasises self-esteem. self-expression. communication and social skills. They 

are introduced to a wide range of positive. new experiences through excursions around Sydney and 

activities at Stewart House. 

The artist-in-residence program was initiated in 2001 to expose the children to working artists. I was 

the second artist to take up the position.The studio. which had panoramic views of spectacular South 

Curl Curl Beach. was shared by myself and the older students at the school. I sometimes find 

working in my studio at home quite isolating so the curiosity and interest displayed by the children 

was not only welcomed but also inspirational. 

I was responsible for teaching three. one-hour lessons every two weeks. The children experimented 

with basic hand-building techniques. including decoration. using sprigging (lots of shell moulds to 

maintain the seaside theme!). press moulds and scraffitto on clay tiles. They were very responsive. 

often surprising me with adaptations they made to the techniques I demonstrated. 

In the second week of my stay I organized an in-service for the teachers at the school to 

demonstrate additional techniques they could facilitate in future lessons. It was great to work with 

such a dedicated and enthusiastic group of people. They were eager to try my suggestions with their 

classes and have already incorporated some of these new ideas into their program. 

Knowing time would pass quickly; I developed my work plans early. I decided to continue with the 

technique of printing onto clay (which began when I was at Canberra School of Art in 1998-99). This 

revolved around printing etchings onto clay and now I wanted to explore the screen-printing process. 

Recently I experimented with this technique and met a screen printer named Peter Leis and his sons. 

who were incredibly helpful in explaining the process (including how to put the images onto the 

screen using light sensitive emulsion). I researched seaweed and marine life found round the South 

Curl Curl area and from these images made up some screens so I would be ready to go. 

Every morning I would go for a run on the beach and finish with a walk along the magnificent 

eroded sandstone cliffs. I took lots of close-up detail black and white photographs and sketches of 

the area. Then up to the studio to work while listening to the waves and looking out to ocean as far 

as the eye could see. 

It was no wonder that when I started to focus on my work. all my prior planning fell by the wayside 

and inspiration from my surroundings took over! I felt the desire to create sculptures that reflected 

the natural beauty of the sea and the formations of the rocks and cliffs. 

Before long I was making forms that I felt captured the essence of the rock formations. the 

undulations of the waves and their rhythmic notes. I made imprints of seaweed. shells and a sea 

dragon. found on the beach. and impressed them into the surface of porcelain sheets before draping 

them over my moulds. 

92 PIA - SPRING/SUMMER 1003

From top: Dianne 

Sutton with children 

at Stewart House. 

2002; Dianne Sutton. 

Elosion Selies. 2002, 

handbuilt. press 

moulded porcelain . 

17 x 30cm. 

I have always been fascinated with rock pools 

and their patterns but my interest was 

heightened one night when the moon was full. 

Taking a walk, I noticed the moonlight reflecting 

in the pools. It was absolutely breathtaking I I 

decided to make a complimentary body of work, 

for the 'rock formations' sculptures, based 

around these pools. I made a series of different 

sized 'pools' and experimented with pattern and 

glaze thickness including pooling glazes which 

was new for me. For both bOdies of work I used 

Walkers porcelain which was easy to work with 

and withstood my harsh treatment of handrolling 

flat sheets to slump over my moulds and 

to push into large press moulds. 

I found the whole exploration process very 

exciting. To look back and see my work as a total 

inspiration conjured up from immersing myself in 

a different environment is very satisfying and is a 

true reflection of my time there. The residency 

experience was fantastic- a definite highlight of 

my year. 


TOBIAS SPITZER 

Retrospective - 35 Years of Newcastle Studio Potters 

_ _ 

retrospective 

-- - -- UCl$!lr~ 

Newcastle StudJo Potters Inc. 

The Newcastle Studio Potters group was 

formed in 1968, and has functioned as a centre 

for ceramics in the Newcastle region since that 

time. The group moved to its present location, 

in Cooks Hill, in 1973 and has since hosted a 

multitude of exciting events, workshops and 

exhibitions. The 35th anniversary of Newcastle 

Studio Potters Inc. was celebrated this year with 

a 'Retrospective' exhibition at the group's 

gallery space, Back to Back Galleries. 

Outstanding early and recent ceramic works 

from twenty-seven past and present members 

were displayed. showcasing the group's 

creative development over the last 35 years. 

Clockwise from top: 

Catalogue cover. 

Retrospeclive-35 Years, 

Newcastle Stud;o 

Potrers Inc.: Gallery 

view; Pam Sinnott. 

Rolling Pin. 2002 , 

paperelay. 12 x 46.5 x 

26.5cm ; Barbara 

Pengelly (Blaxland), 

Pinch Pot. 1970. pinch 

technique. stoneware 

(12BO' C). h.26cm. 


op 

ELLIN POOLEY 

Finished works. 

A glass casting workshop with Sallie Portnoy 

An enthusiastic bunch of 12 students from 

places as far afield as Queensland, South 

Australia, Victoria and New South Wales, 

gathered at Gymea TAFE in Southern Sydney, on 

the Mothers' Day weekend. Sallie Portnoy is an 

established artist who has exhibited nationally 

and internationally, having spent more than 15 

years working in glass and ceramics. She is also 

the kind of teacher who encourages her students 

to recognise their own boundaries and push past 

them with the aid of newly acquired techniques 

and ideas. 

We began on Saturday morning by making a 

small, simple clay model, with at least one flat 

surface. Sallie showed us how to make a plaster 

mould of the model, using a mixture of silica 

200# and pottery plaster in a 50:50 ratio by 

weight, (essential ingredients, as the plaster had 

to withstand up to 900c a little later.) The mixture 

was applied in three layers and the top of the 

mould was levelled, so that it would have a 

stable base when it was filled. After the plaster 

had set, the clay was carefully removed. Any 

blemishes or scratches in the mould were dealt 

with and then the mould was filled with coloured 

Gaffer glass. The filled moulds were put into 

kilns and fired to 900c with a soak on the way 

down to ensure even temperature throughout 

the glass and slow cooling to prevent cracking. 

Sallie also demonstrated the making of 

duplicate models, using gel-flex. After a plaster 

mould has been prepared, the gel-flex is put into 

a microwave and melted at medium heat in a jug 

with frequent stirring to keep the temperature 

even. As soon as it was evenly liquid, it was 

slowly poured into the plaster mould, then 

tapped up and down to bring bubbles to the 

surface and to fill undercuts. When cool the gelflex, 

now in the form of a model, could be used 

to make many more plaster moulds for multiple 

copies of a work. 

The plaster moulds, full of melted, set glass, 

were removed from the kilns on Sunday and 

when the glass was cold enough to handle 

easily, were torn off to reveal our masterpieces, 

ready for a cleanup. The bases needed to be 

ground carefully to remove any glass protrusions, 

and for this we used pieces of a carborundum 

belt from a belt grinder, wet 'n dry sandpaper, 

and small hand-held grinders. The finished works 

were lined up on a sunny windowsill where the 

light would shine through them and were greatly 

admired and photographed by rapturous owners. 

Throughout the weekend, Sallie was extremely 

patient and always willing to re-explain or answer 

questions of the very varied group of students. 

Everyone emerged from the class with at least 

one piece of their own work, and bubbling with 

enthusiasm and ideas, headed for home to try 

everything all over again. 


SUE BUCKLE 

Australian Ceramics Directory survey 

Wondering if it's worth the effort to have a website? Unsure about getting email access? Trying 

to decide about the value of joining an online Directory? Sue Buckle researches ceramic artists who 

are part of the online Australian Ceramics Directory. 

The Potters' Society of Australia and the Journal of Australian Ceramics, Pottery in Australia have an 

extremely successful website that was launched in 2002 at the Powerhouse Museum. The Australian 

Ceramics Directory is a major part of this site and includes 135 individual li stings. Since the launch the 

site has steadily grown in popularity, building to over 5,000 unique users each month. This makes it 

an important portal both nationally and internationally for those who want information about 

Australian ceramic artists. 

In April I was part of a panel discussing marketing at the National Ceramics Conference in Bendigo. 

I chose internet use by ceramic artists as my area of discussion. I conducted an email survey of 

artists listed on the Australian Ceramics Directory to see if their presence on the site was affecting 

their ceramic process. 

This exposed the first interesting fact about current internet use. Of 100 directory listings, 75 had 

email addresses. These figures are already a massive change from the last printed directory produced 

in 1996 when there was only 7 ceramic artists with an email address! Of the 75 emails I sent I 

received 45 replies within three days. There were 12 bounced emails which meant that 12 people 

hadn't informed the directory of a changed email address. Obviously these artists are not maximising 

their exposure on the Directory site. 

The first four survey questions related to Galleries. I asked if the artist had received any enquiries 

regarding their work from galleries or curators and if the artist could give details of opportunities or 

sales which had arisen from the contact. Over one third had been contacted. Within Australia 

Regional galleries were those mentioned most. It is obvious why these galleries, situated outside 

major population centres would use a Directory to source work. Other galleries mentioned were 

State galleries, including the Queensland Art Gallery and the Tasmanian Art Gallery and Museum. 

International galleries were also prominent in the list including galleries in Europe, Germany, 


Holland. Portugal. Greece and America. The list 

included the prestigious Washington based 

Renwick Alliance and the Victoria & Albert 

Museum. Exhibiting opportunities were for both 

solo and group exhibitions. In addition to this 

type of contact there were invitations to 

participate in International Ceramic Art events. 

One ceramist was contacted to participate in 

the Bienale de Arte in Florence. which she 

accepted and visited earlier this year. 

International touring exhibitions also accessed 

work through the website. 

Retail sales were another area where plenty of 

contacts had been made with artists. It appears 

there is a large American distributor active on the 

web. Other contacts were from corporate art 

buyers and individual commissions. One ceramic 

artists living in the country had closed his outlet 

and was just operating using a website with an 

online catalogue and ordering facility. In all these 

cases it seemed that work was being sought in 

both the lower price range and top end of the 

range-up to $8.500. It included functional ware 

and individual artworks. 

Only about one half of those contacted by 

galleries. curators. retailers had actually followed 

through the opportunity. Reasons for not 

following through included the fact that 

artists were unsure about the company. the 

time line was too short or the orders too large. 

Question 5 in the sUlvey asked if any artists 

been contacted to conduct workshops. Less 

than half had been contacted but within that 

group there were those who had had many 

requests. Question 6 related to enquiries from 

individuals (mainly students) who wanted 

technical information. One artists said she had 

been contacted so often that she had prepared 

a fact sheet with images that she could attach 

to an email in reply. This is one aspect about the 

internet that can be frustrating. It makes 

everyone accessible and demands are made 

with short response time but there are Obviously 

creative ways of dealing with this! Contacts for 

information came mostly from within Australia 

but also from overseas. 

Overall. it would seem that there is plenty of 

exposure to be had from inclusion on the 

Australian Ceramics Directory. Those who had 

their own website seemed to be more 

successful with professional contacts. The 

Australian Ceramics Directory provides the 

facility for hotlinking an individual's website 

on their directory entry. This extra facility and 

indeed the presence of your own website. 

speaks loudly of your commitment and your 

confidence as an artist. 

c~oc:~='-_ __ ~ I 

............ _ .... -... 

·---1 


You may not want to take the time or expense 

of creating your own site. You may prefer to 

direct people to the website of the galleries that 

represent you or you may be happy to rely on a 

single Directory entry to begin with. Many 

ceramic artists contacted listed a wide range of 

other benefits from being included in the 

Australian Ceramics Directory and having email 

access. Many received invitations to attend both 

national and international events and galleries. 

Just to receive this information keeps an artist 

linked to the international art scene. 

Others mentioned friendships made via email 

with artists and art lovers from other countries or 

out of their local area. These may be exchanges 

of technical information or may culminate with a 

studio visit or even a sale. When I visited 

America I was given an email address for Jane 

Herold who lives outside Manhattan in the 

magnificent Pallisades. She kindly invited me for 

a visit to her wonderful home and studio set in 

large rambling gardens. It was such a special 

treat to go to a home and have the kind of 

conversations with Jane that I would have here 

with my potter friends. We keep in touch and 

she still emails me notice of her open days. 

These are always exciting to receive and bring 

back memories of that first visit. Robert 

Compton. in Vermont USA. administers an 

international co-operative B & B program for 

potters travelling. This scheme has a great 

profile in the USA and can be accessed by 

potters around the world through his website. 

A benefit of email is the ability to send and 

receive information quickly and cheaply around 

the world. Many mentioned the benefits of email 

as an easy way to let galleries and clients know 

your latest news. A short email which includes 

an image of new work can go a long way to 

creating business. Email is an easy and cheap 

way to circulate press releases and invitations. 

Email is a simple way to follow up clients and 

keep in touch with galleries. Galleries that 

responded to the survey said that although in 

Australia clients do not generally make a first 

purchase via a website. they will often email a 

gallery after a visit and then buy. 

Going hand in hand with increased use of 

websites and email is the growing use of digital 

cameras in presentation. These provide a 

relatively easy way to record new work and take 

images for internet use. Images on websites 

need to be updated and the digital camera 

makes the process direct and easy. Email is 

also the most efficient way of sending articles 

to magazines and newspapers. Less cost. less 

effort and time. 

So it would appear that the use of online 

Directories and internet communication is 

definitely a growth area for ceramic artists. The 

online directory is convenient way to get a start 

and maintain a profile. You can then add links to 

your own website when that is up and running. 

In the meantime the listing gives you a national 

and an international profile amongst your peers 

and to an interested market. 

An important part of our art and our business 

is communication. The internet offers artists 

another avenue of communication along with 

magazine articles. local media. national media. 

workshop and exhibitions. Email and internet 

access is a relatively easy way of keeping your 

name in the public eye. Being part of a 

professionally set up Directory. backed by a 

professional organisation appears to be a very 

good way to start. 


KEVIN GREALY 

Carl Russell McConnell-Master Potter 1926 - 2003 

About thirty years ago, sometime between 

midnight and dawn during one of those threeday 

firings at Pinjarra, stuggling to stay awake 

Carl and I amused ourselves by swapping stories 

about death and dying. He particularly liked the 

story of Mark Twain's reading his own obituary 

in the newspaper, and was in stitches about an 

epitaph which read "I told you I was crook!"' But 

he became instantly serious when I asked "'What 

would you like to see written as you r epitaph 7" 

and his reply, as if he had previously considered 

it, was: 

"'Carl Russell McConnell, Master Potter." 

The accolade is true, but far from complete. 

Literally and metaphorically, Carl was a giant 

of a man .. . tall, powerful, loud, generous and 

humorous. In the most crowded of rooms you 

would know Carl was present, peppering his 

conversation with quips, one-liners and 

maxims, of which he seemed to have an 

inexhaustable supply. 

Carl's international reputation as a master 

potter needs no amplification here ... it is so well 

documented in print and in major collections; 

however, his greatest legacy will be his 

awareness of a master's responsibility to "pass 

on the flame" to the next generation. Whether 

through his formal classes at the old George 

Street Tech, his private classes at Pinjarra, 

through his many workshops and summer 

schools for potters and teachers or most 

powerfully ... during the long hours of the 

dog-watch when firing kilns .. . Carl's teaching 

always went beyond the acquisition of skills into 

the realms of the craft's history, aesthetics and 

philosophy. There was always the serious 

message that it was a privilege to be a part of 

the craft that carried with it a responsibility to be 

deserving of it. This was exemplified in the 

standards he required of his own work. where 

the slightest imperfection condemned even the 

nicest of pots to the shard heap. I recall an endof-year 

party at the old Tech. where students 

were asking Carl for some tips. One student 

asked for his policy on what to do with 

'seconds', and Carl repied "Don't make 'em ... 

that gets rid of the problem!" Another student 

asked him if he had any gimmicks. Carl repied 

"Excellence, sonny. It's the only gimmick the 

bastards can't imitate!" 

As a young schoolboy growing up in the 

USA, Carl would probably have been requ ired 

to memorise stanzas from the poet Longfellow, 

just as we in Australia were required to 

memorise verses from Lawson and Patterson. 

On more than one occasion, I have heard Carl 

quote from LongfelloW'S epic "Keramos". His 

insistence on technical perfection in everything 

he did might well have its source in Longfellow's 

poem The Builders. 

In the elder days of art, 

Builders wrought with greatest care 

Each minute and unseen part; 

For the Gods see everywhere. 

Farewell dear friend and master. 

Kevin Grealy-on behalf of the Membership 

of Fusions:Australian Network of Clay & 

Glass Artists. 


victoria 

There is an upbeat feeling in Victoria: Our 

art/craft is being well-supported by galleries, and 

groups around the state are fired up, exhibiting 

their work and receiving a positive response 

from the general public. 

The Second Wave was a breathtaking 

exhibition of Australian contemporary ceramics 

drawn from the collections of members of the 

Ceramics & Glass Circle of Australia and shown 

at the Fo Guang Yuan Gallery in Melbourne in 

June and July. Galerie Hors Saison in Kew has 

presented an ongoing program of exhibitions by 

individual ceramists including Janet Korakas, 

David Pottinger, Sophie Thomas, Gary Healy, 

Alistair Whyte, Bigi Spiro, Elizabeth Masters, 

Judith Roberts and Lene Kuhl Jakobsen. Potters 

Gallery in Warrandyte celebrated 45 years of 

Australian ceramics creativity in October with 

Connections, which brought together a real 

'who's who' of Australian ceramists; and 

Stonehouse Gallery, also in Warrandyte, 

continues its tradition of ongoing exhibitions, 

recently featuring Jenny John, Penny Cearns 

and Joy va n der Heyden. Skepsi on Swanston 

has shown Andrew Cope, Robert Barron, Janet 

Korakas and Western Reflections, a group show 

featuring 13 Western Australian ceramic artists. 

In November Imperial Porcelain brings together 

50 of Australia's finest porcelain artists; and Tea 

for Two in December is an interpretation of the 

teapot by selected ceramists. East & West Art in 

East Kew features Susie McMeekin's Ceramics 

Using Chinese Glazes in November. On top of all 

this, in November and December galleries all 

over the state are featuring the work of some 

brilliant up-and-coming ceramic artists in end-ofyear 

student exhibitions. 

Bendigo regional potters, stimulated by the 

activity surrounding Ignition 10th Austrailim 

National Ceramics Conference in April, 

subsequently came together for a show at 

Bendigo Pottery. 

Arthouse Collective Potters, formerly Geelong 

Potters, are holding The Itty Bitty & Biggy Bowl 

Show in November at Karingallery in Geelong. 

The State Craft Collection- Ceramics Component 

is now housed at the Shepparton Art Gallery and 

was displayed in October together with former 

Sidney Myer International Ceramics Award 

winners and works from the gallery's own 

exceptional collection. 

The Victorian Ceramic Group hosted 

Experimental Firing Day 2003 in September at 

Barry Hayes' property. Th is year, in glorious 

sunshine as opposed to last year's constant 

downpour, 50 potters gathered and helped fire 

a wide range of kilns, including low-fired salt, 

wood-fired raku, dung, modular, tepee, Rajistani, 

pit and rapid-fire. The 'get down and get dirty ' 

hands-on approach was a great learning 

experience for everyone, and some lovely pots 

came out of the ashes. 

The VCG also mounted Clatter, an award 

exhibition of functional tableware. Linda De 

Toma received the HR Hughan Award for her 

cruet set, comprising soy. oil and vinegar bottles 

in a sensuous white satin glaze. Sandra Bowkett 

won the Stonehouse Award for her set of four 

green-glazed seNing dishes. The VCG Functional 

Art Award went to Phil Hart for his set of five 

luscious wood-fired cups. 

A couple more big events are coming up: The 

Pottery Expo@Warrandyte, which has been an 

outstanding success both in sales for 

participating potters and in the promotion of 

ceramics in general for the past four years, will 

again be held over the last weekend in February 

2004. In addition, the inaugural Pottery 

Expo@McClelland will be held over the weekend 

of 13th & 14th December at McClelland Gallery 

and Sculpture Park in Langwarrin, on the southeastern 

fringe of Melbourne. Over 40 ceramists 

will participate in each event, together with 

demonstrations, trade stalls, music, food and 

creative clay activities. 

Jan Barnes 


tasmania 

The Tasmanian Potters' Society (Southern 

branch- P.O. Box 82 NewTown, 7008) held its 

election of new office bearers in August with 

president Beres Taylor being reelected for a 

second term, Tom Hartley as treasurer and vice 

president, and Biddy Searl and Jane Tyler as joint 

secretary. The workshops officer (me, Jude 

Maisch) would like to hear from potters who 

would like to run a weekend or day workshop in 

Hobart (see email below). It would be good to tie 

in w ith other states visiting overseas ceramicists, 

so any contacts from other societies would be 

much appreciated. Recent workshops have been 

Slipcasting with Dawn Oakford, 'Drawing with 

the left side of the brain' with Lauren Carpenter 

and Slip Slabs with Suzi Tyson. The next year's 

programme includes a raku and pit firing in 

January at Beres Taylor's property and a mosaic 

workshop with Maudi Bryan in March. 

The Potters' Society's Annual Exhibition at the 

Sidespace Gallery in Salamanca Place was held 

from the 22-29th October. Details of the 

exhibition are to be in the next edition. 

The Northern branch of the Potters' Society 

are finding their new venue in the Tin Shed 

Pottery a great success, with new members 

from the University enjoying using the space and 

a weekly class being held with Jill Riches. The 

opening of Tin Shed Pottery gave a lot of old 

potting friends the opportunity to catch up. 

Northern branch pottery enquiries to President 

Ros Kingston (ph. 03 6327 2793). 

The North West Branch of Tas. Potters have 

decided to fold and will be soon affiliated with 

the Burnie Coastal Art Group. The small size of 

the group made this a necessity and they hope 

to still have the occasional raku day and perhaps 

encourage some of the other Burnie Coastal Art 

members in doing some pottery in the future. 

Off Centre's new exhibition gallery, adjacent to 

the shop in Hobart's Salamanca Arts Centre was 

christened with a members' exhibition Feats of 

Clay in August in conjunction w ith Tasmania's 

Living Artists' Week. This was followed by their 

fourth birthday exhibition Now We Are Four. 

From 22nd January Off Centre will highlight 

the innovative and clever figurative work of 

ceramicist Sue Stack, with her first solo 

exhibition. 

fg3 held a very successful exhibition in 

September w ith Janet Mansfield and Penny 

Smith's Form and Fire . Following this was The 

Spring Exhibition featuring Launceston 

ceramicist Robert Ikin. fg3's upper gallery 

featured in November work from Pippin 

Drysdale, Prue Venables, Les Blakebrough, 

Christopher Sanders, Rynne Tanton, Ben 

Richardson, Victor Greenaway in Top of the Tree . 

Their December Christmas show will include 

Elodie Barker and Lincoln Kirby-Bell from SA. 

Vipoo Srivilasa, Vic and others. Tasmanians are 

lucky to be able to view a wonderful collection of 

Chinese ceramics in the Tasmanian Museum and 

Art Gallery with the Wongs' Collection Exhibition 

official opening Thursday 6th of November, open 

to the public from Friday the 7th of November. 

The Wongs' Collection is a major donation of 

Chinese artifacts from Professor Shiu Hon Wong 

and Mrs Nancy Wong with 117 items in all, 94 

of them being ceramics dating from Neolithic 

times to the 20th century. The collection includes 

many fine examples of traditional Chinese glazes 

as well as the familiar blue and white and famille 

verte and famille rose. Adult Education holds a 

variety of pottery classes in Hobart at the studio 

shared with TAFE Ceramics. Most classes are 

ten weeks and offer adults, both new and 

experienced, the opportunity to enjoy pottery 

without assesment or set projects. Wheel work, 

sculpture and hand building are all available, as 

well as some parent and child activities. For 

course enquiries phone (03) 6233 7243. 

The Ceramics course at Clarence TAFE is in its 

third year with tutors Ben Richardson and Dawn 

Oakford providing sound instruction in the basic 

technical skills of pottery as well as challenging 

PIA · SPRING/SU MMER 2003 101

their approach to design by offering a variety of 

stimulating projects, Students are clay/glaze 

testing, casting, mould-making, throwing, 

decorating and making sculptures-and in very 

individual ways! All involved are confident of an 

exciting and productive 2004, especially with 

a full class already on the books for enrolment 

into next year's 1 st Year program,(Any enquiries 

regarding the course should be directed to Carolyn 

Canty at Clarence TAFE on (03) 6245 8031), 

Tassie potters send me your news, 

Happy potting! 

Jude Maisch (terrafiesta@trump,net.au) 

Adelaide artists are now preparing for The 

Adelaide Festival of the Arts 2004 and The 

Fringe Festival activities, when there is so much 

going on-a good time to visit our State, although 

anytime is a good time, 

Unfortunately, I've had a few health dramas of 

my own and have been out of commission for a 

couple of months, so this report will be a tad 

short, Please contact me if you have some 

news about yourself or your Group, your 

exhibitions or new work, 

Until next time-keep potting 

Maggie Smith, 

south australia 

Despite several health drama's Margaret 

Wollaston has shown her work in exhibitions 

at the Art Images Gallery on Norwood Parade, 

and recently, during the SAL.A. (South Australia 

living Art week) at The Greenhill Gallery at North 

Adelaide, Her classic shapes, large and small are 

enhanced by her glazes of vibrant blues and 

purples and her very popular brilliant orange 

ochre textured glaze, Her work can also be 

seen and purchased from The Pepper Street 

Gallery at Magill. 

John Fergusion was also an exhibitor during 

SALA week, showing his tall, groggy terracotta 

forms at the aptly named Elbow Room Gallery 

which is situated at the Parks Community Centre 

at Angle Park, John, who is also an Artist in 

Residence at the centre, was very pleased that 

his abstract figurative forms were such a huge 

success, and will grace many of Adelaide's 

courtyard gardens, 

The Adelaide Potters' Club down at Edmund 

Street, Unley are just about ready to open their 

Pre-Christmas Exhibition and sale of work, They 

still have vacancies for new members, and do 

now include other crafts, so if you are interested 

you can telephone the Club on Fridays and weekends 

at (08) 8373 0483, 

western australia 

Just arrived home from a European trip 

accompanied by husband Andrew, so this will 

be brief to make the deadline! The highlight for 

us being the arts, language and culture tour, 

two weeks in Orvieto, surrounding villages and 

Roma, with Victor and Judith Greenaway, 

including four sessions of hands-on workshops 

with ceramic artist, Marino Moretti-fantastic 

value and fun, Also from WA Rosemary Schoen 

and Alison Brown along with five others from the 

Eastern States to make up the Tour Group, More 

details next issue, Check out the website at 

www.discoveringitaly.com 

Chester Nealie was in Perth in August to open 

the Ceramic Arts Association Annual Selective 

Exhibition and run a two day demonstration 

workshop at Central TAFE. The Exhibition was 

held at Gallows Gallery and showcased an 

excellent array of WA Talent. The CAAWA Award 

was won by Pippin Drysdale's Tanami Desert 

Traces vessel, finely decorated with resonating 

colour patterns. The tight cylindrical form took 

seven months of work to develop with her 

assistant, Warrick Palmateer, 

Runner up was Greg Crowe with a rich ly 

coloured saltglazed vessel and Chester gave 

commendations to the work of Sandra Black. 


Ian Mc Crae, Kathy Evans, Cher Shackelton, 

Robin Lees. 

The workshop was a delightful enquiry into 

the historical shapes/attachments/necks and 

rims of artifacts from the Batavia shipwreck, 

such as Bellamarine jars, which Chester had 

spent days researching in the new WA Maritime 

Museum www.mm.wa.gov.au-a great resource. 

Intersect, an exhibition of ceramics and 

sculptures by Graham Hay, Bill Jeffrey, Irene 

Poulton, Dee Jaeger, Christine Dyer and Stewart 

Scam bier, opened 19 September by Belinda 

Carrigan to another 'packed house' at Gallows 

Gallery. Great to see this group's continued 

diverse and exciting artistic developments. 

Guildford Village Potters held a Jenny Dawson 

maiolica decoration workshop in September. 

Perth Studio Potters had the Bi-annual 

Selective Exhibition opened by Fleur Schell, 

followed by a weekend workshop by Fleur 

showing the quirky altered forms of teapots, 

bowls, cups. 

The CSG had a successful Raku & Pit Fire 

Day at Fran Haines home-oodles of great 

results. A sale of work will be held at Ouatre 

Saison in Darlington on 23 November. 

Ciao for now Ann Storey (08) 9203 5397 

submit design concepts for a series of five 

segments of tiled pathways incorporated in the 

development. The Club is co-ordinating and 

managing the project. providing technical advice 

and making the club facilities available to the 

artists. Schools and community groups are also 

involved. So it is busy times ahead and perhaps 

a few more grey hairs? The project has to be 

finished by mid November. 

Over the weekend 13 - 14 September 

Marc Sauvage from Brisbane, conducted a 

very informative workshop about decorated 

clay surfaces featuring an in depth exploration 

of underglazes using a range of techniques of 

application and decoration. As Marc has a wide 

range of undercolour glazes, the workshop was 

of great benefit to the potters involved in the 

playground project. 

The Club is also attempting to negotiate a 

workshop with Mathias Osterman from Canada 

in early February 2004. 

Lone White 

far north queensLand 

Never a dull moment here in Far North 

Oueensland-our National Ceramics Exhibition 

Melting Pot 2003 at the Cairns Regional Gallery 

commenced on 12 September with 80 exhibits 

and over 170 people attending the official 

opening. It was exciting to see all the diversity, 

colour and forms in the exhibition, which 

emphasised the individual styles of all our 

ceramists. Just before the exhibition opening 

date the Club signed a contract with the Cairns 

City Council to participate in the beautification of 

a playground project on the Cairns Esplanade. 

Potters from the Cairns area were invited to 


THE POTTERS' SOCIETY OF AUSTRALIA PRESENTS 

TWO GREAT WORKSHOPS 

EXPERIMENTAL 

CLAY PRINTING 

TECHNIQUES WITH 

PETRA SVOBODA 

18 - 19 SEPTEMBER 2004 

Explore and experiment with a range 

of direct printing possibilities through 

monoprinting, silkcreening techniques 

and the decal process. Students will 

work with raw and glaze fired surfaces, 

constructing vessels using simple 

hand building techniques. They will also 

experiment with and fire ceramic decals. 

The workshop will be held at Gymea TAFE 

in Sydney. 

FAST FIRE FIBRE 

CLAY SCULPTURE 

WORKSHOP WITH 

STEVE HARRISON 

21 - 22 AUGUST 2004 

Ideal for all levels including teachers, 

practitioners, beginners and students. 

This hands on workshop involves making, 

decorating, glazing and fi ring individual 

sculptures using a specially formulated clay 

body which can be fired in under 2 hours. 

All materials including light steel for 

armature will be supplied. This workshop 

was booked out in 2002 and 2003 so be 

quick to register your interest. The workshop 

will be held at Gymea TAFE in Sydney. 

BOOK EARLY AS NUMBERS ARE LIMITED 

For more Information and a booking form phone 1 300 720 124, email: mail@australianceramics.com 

www.australianceramics.com 

104 PIA· SPRING/SUMM ER 2003

NEW LOOK 

POTTERY IN AUSTRALIA 

In 2004 the Potters Society of Australia will 

launch its new masthead for the journal 

Pottery in Australia. The management 

committee of the PSA voted unanimously 

at its 2003 Annual General Meeting to 

launch the new masthead. It is hoped that 

the new look cover will carry the journal 

CI: 

:.... well into the 21st century and continue to 

+- 

U reflect the diversity and vitality of 

Australian pottery and ceramics. 

australian ---_ ceramics 

.._,._-- 

Pottery in Australia Volume 42 Number 1 2003

STOCKISTS 

NSW 

the clay shop 

9110 william st adamstown 

bathurst regional art gallery 

bathurst 

bellingen newsagency 

83 hyde st bellingen 

brookvale hobby ceramic studio 

II/powells rd brookvale 

janets art supplies p/l 

143 victoria ave chatswood 

coffs harbour pottery supplies 

18 allison 5t coffs harbour 

gleebooks 

131 glebe point rd glebe 

inner city claVV'lorkers 

cnr 5t Johns rd & darghan 5t glebe 

syretts newsagency 

30-32 olho st inverell 

potters at work 

witton St katoomba 

potters' needs 

18 scott place kelso 

walker ceramics 

45 tramore place killarney heights 

artsup 

shop 7, manning street 

kingswood 

humphries newsagency 

60-64 the corso manly 

raglan gallery 

5-7 ragtan 5t manly 

ceramic study group 

macquarie centre 

nulladulla potters 

mitton 

port hacking polters group 

miranda 

sturt craft centre 

minagong 

mud gee book case 

10 church st mudgee 

mura clay gallery 

49-51 king st newtown 

hilldav industries 

108 oakes rd 

old toongabbie 

object 

88 george st the rocks 

NSW pottery supplies 

50 holker st silverwater 

Keane ceramics 

3971 debenham rd somersby 

planet furniture 

41 9 crown st surry hills 

art gallery of NSW 

doma in rd. sydney 

tottie potters 

38 umang st tonenham 

the powerhouse museum shop 

500 harris SI ultimo 

ACT 

craft ACT 

civic square 

national art gaUery of aust. 

bookshop canberra 


289 canberra ave, fyshwick 

canberra potters society 

1 aspinal sl watson 

VICTORIA _____ _ 

the arts book shop 

1067 high st armidale 


55 lusher rd croydon 

clayworks potters supplies 

6 johnson crt dandenong 

artisan craft books 

231 gertrude st fitzroy 

koorakooracup poners 

17 fisher st gisborne 

red hill south newsagency 

nhoreham rd red hill 

potters equipment 

13/42 new st ringwood 

northcote pottery services 

85A clyde st thornbury 

roundhouse gallery 

112 queens pde traralgon 

potters cottage gallery 

321 jumping creek rd 

warrandyte 

QUEENSLAND 

claycraft supplies 

29 o'connell terrace. 

bowen hills 

queensland art gallery 

south brisbane 

queensland pottery supplies 

unit 2/ 11 ramly drive 

burleigh heads 

the pottery place 

cairns 

queensland potters assoc, 

482 brunswick st. 

fortitude valley 

the clay shed 

2124 hi-tech drive 

kunda park 

pottery supplies 

51 castlemaine st milton 

mp cera mics 

143 james st toowoomba 

north queensland potters 

association townsville 

the artery 

warwick 

SOUTH AUSTRALIA __ _ 

jam factory craft & design 

lion arts centre 

19 morphett st adelaide 

bam furlong fine crafts 

34 main st hahndorf 

the pug mill 

17 A rose st mile end 

WESTERN AUSTRAL~ __ _ 

angus & robertson bookworld 

240 yorl: 51 albany 

fremantle arts centre bookshop 

1 finnerty st fremantle 

guildford village potters 

22 meadow st guildford 

jacksons ceramics 

94 jersey st jolimont 

margaret river pottery 

91 bussell hwy margaret river 

potters market 

18 stockdale rd o'connor 

art gallery of WA 

bookshop perth 

earth & fire 

bussel highway stratham 

TASMANIA 

derwent ceramic supplies 

16b sunderland st moonah 

entrepot art products 

centre for the arts 

hunter st hobart 

USA 

pine ridge pottery 

5704 g general washington dr, 

alexandria virginia 22312 

seanle pottery supplies 

35 south stanford seattle 

CANADA 

scona pottery supply & clay art 

studio. 8105-104 SI. edmonton 

alberta 

NEW ZEALAN!!eD:..-__ 

cobcraft supplies 

24 essex st christchurch 

south street gallery 

10 nile st nelson 

compendium 

5 lome st auckland 

wellington potters supplies 

2 cashmere ave, khandallah 

wellington 


exhlbltlons 

HORNSBY TAFE CERAMICS DEPARTMENT STUDENT 

EXHIBITION 

Opens Wednesday 3 December at 6.30pm. Exhibition 

continues Thursday 4 - Friday 12 December. Weekdays 

only Sam - 4.30pm. Lower Ground, Floor Block K. 

205 Pacific Highway, Hornsby. Pho ne 94721224 

for sale 

ARTISTS RETREAT 

Pottery studio on 1.3 ha on the Atherton Tablelands. 

Private. quiet, trees, birds. views etc 

Easy access to towns and markets - $200.000 

For more details please ring 07-4096-5081 

Or look up web site -1NW\III.tablelands.com/rura lreslfuller 

* 

KILN 

SHELVES 

THE BEST PRODUCT 

THE BEST DELIVERY 

THE BEST PRICE 

- --------- 

Website: VI/VIfW.kilnshelves.com.au 

Ph: 0416 040 245 Fax: + 61 894563033 

GERSTLEY BORATE/ FERRO FRITS 

Gerstley Borate $5.50lkg inc. GST. 5kg minimum 

Ferro Frits as follows: KMP 4124, 4110,4108, 4101,4064, 

4193, 4113, $4.40Ikg inc. GST. 5kg m inimum 

Ferro Glazes as follows: KMG 203D,239D 

$4.40lkg inc. GST. 5k.g m inimum. All prices plus freight. 

To order phone!fax/email: 

The Pug Mill Pty Ltd, 17a Rose Street, Mile End, SA 5031 

Ph : 08 8443 4544, Fax : 08 8354 0991 

Email: pugmill@pugmiILcom.au 

OASIS MOON GAllERY & STUDIO at The Old Butter 

Factory, in the beautiful Bellingen Valley on the Mid North 

Coast of NSW. The gallery has been established 6 years. 

It is a full working pottery. The price includes 2 wheels. 12 

cubic foot gas fibre k.iln, all accessories and materials. 

We display around 25 local artists quality works on 

consignment including pottery. woodwork and paintings. 

We also buy in clothing and other stock (around 

$5,000.00).The gallery is sub letAabour shared to Mitrybe 

giftware.Very reasonable overheads, leasehold in a 

fabulous complex of craft studios with restaurant and 

lovely gardens. This is a lifestyle opportunity in a much sort 

after location. Reluctant sale. $65,000.00 W.1.w.O. Phone 

Anne 02.66559388 b h or 02.66551627 a h 

OZMOSIS PLASTER MOULDS 

Range includes native wildlife, figurines. tableware etc. 

Finished ware depending on order 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. 

Ph/Fax: (02) 6568 1903, e: ozmosis@tsn.cc 

kilns 

CERAMICRAFT - KILNS KILNS KILNS KILNS 

Tru-fire kilns are made in Australia and carry C-tic 

compliance. have fixed stand with roller casters. and come 

w ith cord and plug. These kilns are built to last. We send 

kilns anyvvhere in Australia. Call for details. 

Ceramicraft. 33 Denningup Way Malaga 6090 WA 

Ph : (08) 9249 9266, Fax: (08) 9249 9690 

YWoIW.ceramicraft.com.au 

HILLDAV 

Kilns. Slab Rollers & Extruders available from The Potters 

Warehouse. Extensive selection of Pottery, Ceramic and 

China Painting Supplies. agents for; Tetlow and Duncan 

Glazes. Talisman Sieves, Venco Wheels and Pug Mills 

108 Oakes Rd, Old Toongabbie, NSW 2146 

Ph/Fax: (02) 9688 1777, Fax: (02) 9836 396 

hoto ra h 

TERENCE BOGUE 

www.netspace.net.au/- fotograf 

The Photographic Resource for Australian Craft. 

Email: tbogue@optusnet.com.au 

Terence Bogue Photographer. 

PO Box 1202, Kensington. Australia 3031 

TeVFax: + 61393814068, Mobile: 0412977 511 

M 

Speci~lised 

I ~l 

MICHEL BROUET 

Mixed Media Photographic Studios. 

in art. sculpture and 

ceramics. 

25a Moore Lane, Leichhardt NSW 2040 

Ph : (02) 9568 2382, Fax: (02) 9568 2391 

email: michel@bigpond.net.au 

GREG PIPER IMAGING SOLUTIONS 

Providing craft artists, with digital and traditional 

photography. including g~aphic design to print or electronic 

media. Associate AIPP-{Australian Institute of Professional 

Phot09raphers). Over 30 yrs experience in various 

advertising, corporate and government projects. 

Established and managed the photographic and audio visual 

depanment at the Powerhouse Museum from 1977-1989. 

e: greg@gregpiper.com.au, i: www.gregpiper.com.au 

pll: + 61 29181 11BS, m : 0411 107744 

Drummoyne NSW 2047 Australia 

seminars and forums 

2004 SIDNEY MYER FUND INTERNATIONAL CERAMICS 

SEMINAR (Semina, & Exhibition) 

Shepparton Art Gallery, Locked Bag 1000, 

Shepparton, VIC 3832 Ph: 03 5832 9861 Fax: 03 5831 9480 

e: art.gallery@shepparton.vic.gov.au 

See display ad on page 115 for further details. 

su 

!ters 

MPCERAMICS 

Pottery Supplies & Equipmenl for the hobby and 

professional potter. Variety of clays, ceramic and sculpture 

books. large selection of specialised tools. 

Shed 9, 117 -119 Me Dougall SI. PO Box 2075 Toowoomba 

OLD 4350 Ph : (07) 4634 5666 e: mpcerm@bigpond.com 

\WM.mpceramics.com.au 

worksho s & winter,s rln 

schools 

HOT TO POT WORKSHOPS at 'Moonshill', Tarago, NSW 

Summer Weekend Workshop: 17/ 18 January: Handbuilt 

boxes with Jane Crick. Autumn Weekend Workshop: 

17/ 18 April: Barrel and Raku firing with Krysia St Clair. 

Also a monthly programme of one day workshops, 

Information at wwvv.janecrick.netfirms.com or contact 

Jane Crick Ph/Fax (02) 6161 0806 or 

~mail janecrick@dodo.com.au 

MCGREGOR SUMMER SCHOOL 5-16 January - Ceramics 

Form and Surface with Jane Barrow The classes will be 

based on making and developing forms in relation to 

surface patterning and will focus on exploring a variety of 

contemporary and traditional Japanese decorating 

techniques to embellish form and create various illusions. 

T: 07 4831 2755 E:mcgregor@usq.edu.au 

W :www.usq.edu.au/mcgregor 

NATIONAL ART SCHOOL Summer School 12-16 January 

2004. Matthias Ostermann: Maiolica Colour Workshop. 

Cameron Williams: Throwing. back by popular demand. 

Short Courses Semester 1/2004 Sandy Lockwood: 

Throwing for beginners. 6 Saturdays starting March 6. 

Master class for Throwing. 6 Saturdays starting May 8. Paul 

Davis: Everything you wanted to know about glazes but 

were afraid to test. Thursday evenings starting March 4. 

Contact: Merran Esson. 02 93398631. Email : 

merranesson@det.nsw.edu.au 

-------- - ._--- ---_._-- 


SHORT COURSES AT STURT, M ITTAGONG 

Summer School January 5-10 2004 Throwing large pots with 

Svend Bayer · extend your throwing skills and make large pots 

with Artist·in-Resident at StUIt Pottery. Svend Bayer. 

Handbuilding and Decorating with Fiona Hiscock - learn how to 

hand build vessels, which are decorated using underglaze 

colours and stains under the expert tuition of Fiona Hiscock. 

Clay for Kids with Sue Buckle - young potters are encouraged 

to explore their creativity through making objects. pots and 

sculptures in clay with Sue Buckle 21st & 22nd February. 

Josie Walter· Working with Slips Two day workshop with UK 

potter and author of recently published book ·Pots in the 

Kitchen-, Participatory. making pots and applying slips. 

For further information Contact Megan Patey PO Box 34 

M ittagong 2575 NSW Ph 02 4860 2080 Fax 02 4860 2081 

email:mpatey@sturt.nsw.edu.au.NWW.sturt.nsw.edu.au 

WORKSHOP ARTS CENTRE SPRING SCHOOL 2003 

January Workshops 2004 Jan 10-11 Petra Svoboda - Printing 

on Clay: Jan 17-18 Sue Buckle fanlaslic Clay : Jan 19-23 

Barbara campbell-Allen Throwing: Also Creative Claywork for 

Children 5-12 years with Sue Buckle in January 2004. For a full 

program and detail visit 'NWW.workshoparts.homestead.com 

(see display ad p 119). 

AUSTRALIAN GALLERY DIRECTORY 

FUSIONS GALLERY 

Fusions Permanent Collection is an ongoing exhibition. 

Cnr Malt & Brunswick Sts Fortitude Valley 0 4006. E-Mail: 

lusionS@gil.com.au. Tel < 61 73358 5122. 

Fax +61 7 3358 4540. Gallery Hours: Wed-Sat 11 .Q0.4.00 

other times by appointment. 

NEWCASn.e REGION ART GALLERY _____ 

29 November 2003 - 8 February 2004 Fifty years of Australian 

Ceramics - curated by Gillian McCracken Laman Street 

Newcastle T:02 4974 5100 Email: artgallery@ncc.nsw.gov.au 

PlANET FURNITURE _ _ _________ _ 

Australian Studio Ceramics. Featuring Robin Best. Phil Elson. 

Victor Greenaway, louisa Hart. Chris James, Rebecca Kim. 

Nicole lister, Sandy Lockwood, Laura McEwan, 

Susie McMeekin, Ruth McMillan, Suzanne Read. Simon Reece, 

Steve Sheridan and Andrew Stewart. 

419 Crown 51. Surry Hills. 2010. Ph: (02) 9698 0680 

Fax: (02) 9698 8222, E-mail: enquiries@planetfurniture.com.au 

SHEPPARTON ART GALLERY _________ 

Have you visited the refurbished Shepparton Art Gallery? This 

wonderful regional gallery focuses on Australian ceramics, with 

over 4.500 works in the collection. There is an ever changing 

display of pieces from the permanent collection, which also 

features selected international ceramics. Open 7 days, 1 Dam to 

4pm. free admission. Eastbank Centre, 70 Welsord Street. 

Shepparton. Victoria. Ph:(03) 5832 9861 

STURTGALLERY ____________ 

FIFTY YEARS AT STURT POTTERY - Forum. Exhibition and 

Dinner December 14th 2003 3pm Exhibition A selected 

exhibition of key figures from Sturt Pottery, including Gywn 

Hanssen Pigott. Les Blakebrough, Col Levy, Alan Peascod. 

John Edye. Ian Mackay. Campbell Hegan. Paul Davis and 

more. To be opened at 3pm - Sturt Gallery. 3.30 - 4.45 Forum 

Speakers will include: curator and historian Grace Cochrane. 

Curator of Decorative Arts at The Powerhouse Museum, Neil 

Brown, Associate Dean of Research, College of Fine Arts, 

Sydney. Les Blakebrough. Gwyn Hanssen Pigott and Col 

Levy. 6pm Dinner at Stun Cafe. The cost for the whole event 

is $35. Those wishing to attend the forum and exhibition 

only - $5. (Dinner only - $30). Bookings essential 02 4860 

2083. Ring Sturt on 02 4860 2083 www.sturt.nsw.edu.au 

_ 

_ 

_ 

MURA CLAY GALLERY _ 

November 21 - December 24 Christmas Spectacular· closed for 

vacation December 25 to January 14 January 15 - February 10 

regular artists exhibition February 13 - March 9 - our 9th Mardi 

Gras exhibition Gaytrix with our regulars including Janice 

Raynor. Leanne Percival. Miltiades Kyriakides. Steve Davies and 

Michael Keighery March 12 - April 14 Mura celebrates 14 years 

as an exhibiting gallery April 16 - May 5 twixt cup and lip 

Ceramics by South Australians Lesa Farrant. Kirsten Coelho, 

Marie Littlewood, Honor Freeman - paintings by Monica 

Epstein. 49 King 5t Newtown Ph : (02) 9550 4433 

Fax: (02) 9550 1996 e: muraclay@bigpond.com 

www.australianceramics.com 

Australia's national reference for ceramics and pottery 

Galleries - Events - Artists - Workshops - Exhibitions - Organisations 

108 PtA - SPRING/SUMMER 2003

NATIONAl EDUCATION 

BOX HILL INSTIT\JTI: OF TAFE VICTORIA _ 

Diploma of Arts - Ceramics - focusing on the development of 

skills. design abilities and knowtedge necessary to produce 

work for the comtemporary market place - fine art. studio 

ceramics and ceramic design. Box Hill maintains strong links 

with the broader ceramic industry. Enquiries Sue McFarland or 

Shane Kent ph, 039286 9671 email: smcfarland@bhtafe.edu.au 

or s,kent@bhtafe,edu,au 

CANBERRA SCHOOL OF ART __ 

Institute of the Arts- The Australian National University. Offering 

a range of courses · Bachelor of Arts/Combined degrees! 

Graduate OiplomaslMaster of Visual Arts/ Master of 

Philosophy/ PhD, For course information Ph : (02)6249 5711 ; 

F: (02)6249 5705, Email: SecretaryITA@anu.edu.au 

www.edu . au~TAlCSN 

CHISHOLM INSTIT\JTI: OF TAFE VICTORIA __ -,--_ 

Course offered : Diploma of Arts - Ceramics. 21112VIC 

This program integrates design, business and marketing sk.ills 

with individual creativity in a contemporary context. through a 

diverse range of studio production techniques. The focus is on 

achieving the expectations of industry and developing work to 

exhibition standards from an individual point of view. There is a 

strong support base provided by staff, who are atl practicing 

professionals, with the opportunity to work in a collective 

studio environment with excellent kiln facilities and access. The 

program offers many additional benefits including workshops 

by external potters/artists. The course is oHered part-time and 

full-time at the Dandenong campus. Contact: Colin Clark or 

Glenn England· Phone (03192125398 

Email Colin.Clark@chisholm.vic.edu.au 

Pamela.England@chisholm.vic.edu.au 

NATlONAL ART SCHOOL _-:-::==::-___ _ 

Forbes St. DaMinghurs1. Sydney. NSIN 2010 

Bachelor of Rne Arts, Bachelor of Fine Arts Honours, Master of 

Fine Arts, Short courses, Summer and Winter Schools. Artist in 

residence program. international exchange and visiting artists. 

Contact Bill Samuels Phlfax (02)93398630 email 

bilisamuels@deLnsw.edu.au Website: WNW.nas.edu.au 

NORTH COAST INSTIT\JTI: OF TAFE, LISMORE CAMPUS _ 

Certificate. Diploma and Advanced Diploma Courses 

in Ceramics. Courses require application: 

Enquiries: John Stewart Ph: (02) 8626Z 64BO 

john.stewart@tafensw.edu.au 

NORTHERN SYDNEY INSTIT\JTI: OF TAFE, HORNSBY 

CAMPUS NSW __ , __________ _ 

Beginners to advanced courses - full and par1 time-day and 

evening classes - state of the art facilities - encouraging and 

diverse professional tuition. Enrolments Friday 31 January 

Lower Ground Floor Block K 205 Pacific Hwy. Hornsby. NSW 

For course infonmation contact Terry Wright: (02)9472 1224 or 

email theresa.wright@ tafensw.edu.au 

RMIT UNIVERSITY, SCHOOL OF ART ANO CULTURE. VIC 

oHering Bachelor of Arts - Bachelor of Arts (Hons)- Master of 

Rne Arts (Coursework) Master of Arts (Research) Doctor of 

Fine Arts (Coursework) Doctor of Philosophy (PhD) 

Contact: Associate Professor Kevin White Ph : 03 9925 2656 

Fax: 03 9925 3731 Email: kevinwhite@rmitedu.auWebsite: 

WW'N.rmit.edu.au 

SOUTHERN SYDNEY INSTIT\JTI: OF TAFE, GYMEA 

CAMPUSNSW __________________ __ 

Certificate and Diploma courses in Ceramics - full and part 

time attendance. Cor Kingsway & Hotham Road Gymea NSW, 

Ph : (02)9710 5001. Fax: (02)97105026 

STURT CRAFT CENTRE ____ _ 

Sturt Craft Centre at Minagong runs short courses aimed at 

specialized areas for studio pottery production. Glaze, 

throwing, mould work. wood firing, decoration. Weekend and 

week long courses covering all areas. Phone 02 4860 2083 

email shop@sturt.nsw.edu.au or visit the website 

WVYW.sturt.nsw.edu.au. Tenancy positions available at Sturt 

Pottery - full use of equipment and facilities in exchange for 

$88 per week. Enquiries phone Sturt on 02 4860 2083 or email 

mpatey@sturt.nsw.edu.au 

SYDNEY COLLEGE OF THE ARTS _______ _ 

The University of Sydney - Bachelor of Visual Arts 

Bachelor of Visual Arts (BVA). Bachelor of Visual Arts (Hons). 

Master of Visual Arts (MVAI. Master of Studio Art (MSA). 

Master of MultimediaDesign (MMDes). Master of 

Contemporary Art for Educators (MCAEI. Doctor of Philosophy 

(PhD), Contact: Student Administration Ph : +61 (2) 9351 1104 

Fax : +61 (2)9351 1199. Email : enquiries@sca.usyd,edu.au 

wwvv.usyd.edu.au/sca 

PIA - SPRING/SU MMER 2003 109

YOOI1. Kwang.Cho 30/2 0 

Pat Cahill, New Gas Kiln 

Plan. Paper Kiln. Reviews 

and Profiles 

works and information. 

Ceramic crayonstechniques 

glazing, Paper clay 

techniques 

Handbuilding. 

Paperclay. Handbuilding 

with periite, Patination of 

copper glazes, Kiln burners 

works and information. 

Anagama Firing. Decals. 

Ma" glazes 

Stonewa re , 34/4 D 

Profiles and Reviews. 

Textured s/w glazes, 

Wheels compared 

Art of Function. 35/1 0 

Fluxes. Clay Adhesive. 

Electric Kilns 

Graduate Focus; 35/2 0 

Anagama plan, 

Respiratory masks, Glaze 

programs, 

Commercial lustre, 3513 0 

Protective clothing, 

'Fletcher Challenge Award 

ACr ceramics. 3514 0 

Reduced lustre. 

Sandblating, Slabrollers 

Makers 36/3 0 

mark.eting, strategies. 

grants, midfire glazes 

Sony Manning. 37/1 

Alison Kelleher, Low fire 

lustre, Orange peel glaze. 

Crater glaze 

Churinga 37/2 0 

CIayworks. Raku. 

Dolomite, Rutile glaze 

Jenny Orchard 37/3 0 

Fleur Schell, Dry glaze, latex 

resist 

Creative Table 37/4 0 

Narelle Derwent, Barbie 

LockJee, Crawling Shino. 

Screenprinting 


Figuarative works 38/4 0 

Barium, Shino and Celadon 

glaze. Rona Fell 

versatile underglaze, 

Celadon, Peacock t>uelred 

Sandblasting, 39/3 0 

Making a Raku kiln, Electnc 

Kiln firing, Michael Doolan 

Ne"oN Porcelain, 39/4 0 

Midfire glazes, Rring a 

gas kiln. VICtor Greenaway 

40th Anniversary 40/3 D 

Underglaze screen printing, 

paperclay update, PIA history 

Landscape Focus, 41 /1 0 

Claybodies for sculptural 

appltcatOOs, Catherine Reid 

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New Technical Booklets by Steve Harrison 

Steve Harrison has been working with clay as a potter, kiln builder and author since 1968, He has 

been teaching ceramic technology for the past 30 years. His technical booklets have gained national 

and international recognition as practical guides to kiln building, woodfiring and raw materials. 

1. Rock Glazes, Geology and Mineral Processing for Potters - A personal approach 

53 pages, 31 colour images, 12 B&W illustrations 

AU$40 including postage & GST. Overseas (inc postage) AU$50 

2. Austral ian Woodfiring 

2nd Edition Revised and Enlarged, 122 pages, 85 colour images & 13 kiln plans, AU$85 including 

postage & GST. Overseas (inc postage) AU$97 

3. Laid Back Woodfiring 

3rd ed ition Revised and Enlarged, 58 pages, 40 colour illustrations, 12 kiln plans, + CD 

with 120 colour pics. AU$43 including postage and GST. Overseas (inc postage) AU$53 

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BEYOND EARTH 

EXPLORING THE PLASTIC LIMITS OF CLAY 

Exhibition at Manly Art Gallery & Museum 

in conjunction with the Potters' Society of Australia 

January - February 2005 

This exhibition w ill explore Australian ceramics that emphasize the 

unique making potential of plastic clay. 

This will be an opportunity to view the work of Australian ceramists 

who have developed an individual body of distinctive claywork, 

where clay is manipulated to express personal ideas and concepts. 

These may range from social comment to a distilled statement of 

beauty. The approach may be playful, satirical, narrative, decorative 

or contemplative. Work may be installation, thrown, hand built, vessel 

based or incorporate other materials. The emphasis is distinctive 

hand working of clay as the voicelvehicle of individual makers. 

Ceramists are invited to submit a cohesive group of work that 

utilises clay as a plastic medium. The work exhibited will expand the 

conventions of surface, form and structure. The exhibition will seek to 

take the viewer from the everyday to the challenging rea lms of clay 

as a highly expressive medium. 

Please send a brief description of the body of work, with up to 6 

slides or photographs or CD and a CV. Exhibitors will need to be 

current members of the Potters' Society of Australia. There will 

also be an artist's fee of $100 for participating ceramists. 

Enquiries and Applications to Curator 

Barbara Campbell-Allen 

PO Box 105 Erskinville 2043 

Ph 02 9439 1638 

Email camal@bigpond.net.au 

Expression of interest 

Applications close 

Applicants notified 

Exhibition dates 

30 March 2004 

30 April 2004 

30 June 2004 

28 Jan -27 Feb 2005 

11 4 PIA · SPRING/SUMMER 2003

Cowra Festival 

Art Awards 

Incorporating the Colleen Acquisition Award 

of $5000.00, a Local Artisl Award o f 

$500.00 and three Awards of M eri l of 

$1000.00. Eligible works may embrace any 

2D medium and 3D in ceramics a nd gloss. 

2004 Judge: Tim Storrier. 

Closing dote for entry forms: 

Friday 13 February 2004. 

Entry Forms and more information available from ' 

Cowra Art Gallery 

77 Darling Street 

Cowro NSW 2794 

T/F 02 6340 2190 

Email: cowraartgallerY@cowra.nsw.gov.au 

lOAM - 6PM DAILY 

(except for Wednesday 26th lOam - 9:30pm) 

$10 at the door ' $8 con( ... lon • • Children und .. 12FREE 

tel: (02) 4512 6099 

Held in conjunction with 

The 2004 Sidney Myer Fund Internetional Ceramics Award 

In association with La Trobe University 

28 February to 25 April 2004 - Shepparton Art Gal/ery 

Saturday 28 February 2004 

Shepparton Art Gallery 

This is the premier international ceramics award held in Australia. Offering AUD$15,000 Premier Award with a 

further AUD$10,000 in other prizes and acquisitions. A w ide selection of contemporary international ceramics. 

Official opening and announcement of winners: Friday 27 February 2004 

International Ceramics Seminar: Saturday 28 February 2004 

Master Class by International Judge: Sunday 29 February 2004 

G

POTTERS CLAY 

We believe 

we supply 

the BEST value 

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in Australia 

Filtered and unfiltered clay' In Ter 

and Buff Stoneware' Suitable for throwi 

and handbuilding 

For prices and further information contact: 

Bennetts Magill Pottery Pty Ltd, 28 Briant Road, Magill SA 

Phone: 08 8431 1340, Fax: 08 8332 5288 

Email : pottery@esc.net.au

Cone drive, variable speed 

OVer 35,000 in use w.orldwide 

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· padded stool 

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Venco 

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• 280mm wheel head 

• Foot pedal operated speed control 

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• 180W (1/4hp) resilient mount motor 

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• LxWxH 58x48x53cm 

Now with 3 year warranty 

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email : venwestOl'nelneLau 

D_by: 

VENCO - wortd renown for QUAUTY and AEUABIUTY 


WORKSHOP 

arts 

CENTRE 

JANUARY WORKSHOPS 

Petra Svoboda: Printing on Clay Jan 10-11 

Sue Buckle: Fantastic Clay Jan 11-18 

Barbara Campbell-Allen: Throwing Jan 19-23 

Creative Claywork for Children 5-1 2 years 

Sue Buckle: Imaginative Pottery (6-12 yrs) 

Jan 13-15 & Jan 20-22 (10-12.30pm) 

Sue Buckle: Advanced Claywork (8-12yrs) 

Jan 13-15 & Jan 20-22 (2-4pm) 

allery 

arts centre 

offef i n~ t uition in perfof min ~ . 

visual and creative urts 

(orne and experien(e 'Ceramks • Form and Surface' 

wi!h Jane Barrow 

Jone ~ 0 prodising ",romi

NEW from the 

Fibricoat 

Furnascote Laboratories 

at Polybond Limited, 

Polybond Fibrecoat has 

 

been specially developed to 

enhance the performance of 

Refractory Ceramic Fibre (RCF) 

in all applications, whilst at the same 

time solving many problems associated with the reclassification of RCF as 

a Class 2 Carcinogen. 

POL YBOND Fibrecoat 

POLYBOND Fibrecoat TM 




POLYBOND Fibrecoat 

POLYBOND Fibrecoat 

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Binds the surface fibres forming a thin, tough 

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properties for longer. 

A low cost spray coating to seal and protect 

all types of fibrous insulating materials. 

Successfully used in a wide variety of 

industries and operating environments. 

Prevents fibre dust contaminating the working 

environment. 

Applicable to new or existing linings. Suitable 

for glazed or unglazed product manufacture. 

Offers greater protection than alumina based 

coating. 

Contact THERMALTECH INDUSTRIES for 

details of a distributer in your state. 

Refractor'l ceramic Fibre 

Manufactured under licence by 

THERMALTECH INDUSTRIES PTY LTD . 88 Casllecrag Drive , Kallaroo WA 6025 

Tel. : 08 9401 0324· Fax: 08 9307 9084 · Email: bcarsyl@aol.com 


CLAYWORKS 

WE ARE PROUD TO ANNOUNCE THE RELEASE OF 

Les Blakebrough's 

COOL ICE 

Low fIring PORCELAIN 

White, translucent porcelain at 

ORTON CONE 4, 5 & 6 

THANK YOU FOR YOUR LOYAL SUPPORT 

OVER THE LAST YEAR. 

CLAYWORKS AUSTRALIA PTY LTD 

Website: www.c1ayworksaustralia.com . Email:c1ayworks@c1ayworksaustralia.com 

6 Johnston Court, Dandenong, 3175 

Phone: (03) 9791 6749 . Fax: (03) 9792 4476 


Potters and schools are achieving 

amazing results using 

Blackwattle Paper Clay 

Now available Australia wide from 

your local stockist 

BLACKVVATTLEPOTTERY 

QUALITY EARTHENWARE & STONEWARE CLAYS 

For your nearest outlet or more information contact 

P.O. Box 510 Ingleburn N.S.W.2565 

rei 02 9829 5555 Fax 02 9829 6055 

Email paperclay@blackwattle.net.au 

Website www.blackwattle.net.au 

HOT & STICKY 

Custom Designed And Built Electric And Gas Fired Kilns 

CREATIVE SOLUTIONS TO TECHNICAL PROBLEMS 

STEVE HARRISON & JANlNE KING 

UPCOMING WORKSHOPS 2004 

• Decorating - slip trailing & majolica 

• Wood firing 

• Raku / Experimental firing day 

• Throwing / assembling tea pots 

• Building a simple gas kiln 

• Geology / rock glazes 

Contact us for details 

Hot & Sticky Pty Ltd. 5 Railway Pde Balmoral Village via Picton NSW 2571 

Telephone, message and fax 02 48898479· Email: hotnsticky@ozemail.com.au 


NORTHCOTE POTTERY 

'WHAT' S ON IN CERAMICS' CALENDAR 

OPPORTUNITIES TO SELL YOUR WORK 

SECOND HAND EQUIPMENT FOR SALE 

TECHNICAL SUPPORT 

TEACHING OPPORTUNITIES 

WORKSHOPS & MASTERCLASSES 

'SPECIALS' ON POTTERY MATERIALS 

'SPECIALS' ON PRODUCTS 

EMAIL US NOW 

pshop@northcotepottery.com.au 

and we'll send you our regular email newsletter 


Fifty Vears of 

Australian Ceramics 

Curated by Gillian McCracken from the 

collection of Newcastle Region Art Gallery 

Gwyn Hanssen Pigott At the Gates (2003) translucent porcelain (Limoges and Southern Ice) 13 pieces 

presented in 2003 by the Newcastle Gallery Society 

reproduced courtesy of the artist and Rex Irwin Art Dealer 

29 November 2003 - a February 2004 

NEWCASTLE REGION ART GALLERY 

'10 AM - 5 PM TUESDAY - SUNDAY 

LAMAN STREET NEWCASTLE NSW 

Phone: (02) 4974 5100· Email: artgallery@ncc.nsw.gov.au 

8 

CERAMICS COURSES AT 

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 

Enrolments Friday 30 January 1· 7pm 

Lower Ground Floor Block K 

205 Pacific Hwy Hornsby 

f 

j 

J 

STUDENT EXHIBITION 

wednesday 3 - Friday 12 December 

Week days only 9am - 5pm at the address above 

For course information 

or to register your interest please contact Terry Wright: 9472 1224 

or email: theresa.wright@tafensw.edu.au 


23 & L Cit:t[ow qJt!J. Ltd . 

FURNACES 

• Elf"ctric in air to 2000 C • Var.t1l11Tl 

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+- Environmentally friendly. 

+- Low density hot face 

insulating brick. (Fibre Free) 

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+- Australia's largest range - 32 

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+ Fast firing to 13000C. 

Your choice - Manual or 

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KEANE 

factory showroom 

177 Debenham Road 8th 

80mersby N8W 2250 

P 02 4340 1069 

F 02 4340 2426 

E keaneceramics@ozemail.com.au 

Sydney Institute 

GYMEA CAMPUS 

Full & Part Time Study 

in Advanced Diploma, 

Diploma and Certificate 

Ceramic Courses 

Advanced Diploma online 

CNR KINGSWAY & HOTHAM RD 

,',,;::;;,'''. GYMEA 2227 NSW 

,.,b:n TEL: (02) 9710 5001 

~~:;:;~.~

Ceramic 

Study 

Group 

Inc. 

For everyone interested in pottery 

Friday 28 th November, 2003 

AGM and Lidded Vessel Competition 

- Judge Janet Mansfield 

February 2004 - 1 day workshop at 

Powerhouse Museum 

'h'l'ting'" 'IIT IH.'lelllll' fuurlh I rid

THE LONG AND THE SHORT OF IT IS

PRWT POST APPROVED PP 231 33MIOO48 

PUBUSHED BY THE POTTERS' SOCIETY OF AUSTJW.JA

Pottery In Australia Vol 42 No 3 Spring/Summer 2003

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