The Journal of Australian Ceramics Vol 48 No 3 November 2009
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Pr<strong>of</strong>ile<br />
Michael Stephan, Eared Form; wood-fired shine<br />
h.16cm, w.13cm, d. 16cm; photo: Peter Whyte<br />
Michael Stephan, Chimney Scape, 2008; wood-fired<br />
stoneware; h.14cm. w. , Bern; photo: Peter Whyte<br />
potter. For him, "perfection kills the life in a thing." Instead, his work is '<strong>of</strong> the moment', <strong>of</strong>ten involving<br />
themes <strong>of</strong> dismantling and deconstruction.<br />
Arranged along the right hand wall, Stephan's Wrench introduced the viewer to his work. His First<br />
Cut series included a heavily ridged form which slumped and sagged like an ancient castle, and a keellike<br />
piece pierced with a dowel allowing air and light to enter. Luscious, thick shinos crawled, crazed and<br />
wrinkled. producing wonderful textures, while their characteristic oranges appeared where glaze broke<br />
on edges. Among his untitled series were three intriguing 'eared' forms. CompriSing wrapped slabs<br />
with corrugations made by dragging fingers, one dark iron-rich form with a chimney revealed a superb<br />
copper-like patina. the rough joins apparent. Splits, tears and warping in a large, thrown form revealed<br />
the stresses undergone by making, drying and firing, typifying Stephan's expressionistic approach. <strong>The</strong><br />
dark Chimney Form. hand-built from rolled, stretched and pierced slabs <strong>of</strong> buff raku. attained rusted<br />
iron effects reminiscent <strong>of</strong> old industrial structures. Stress cracks. piercing and the combination <strong>of</strong> ash,<br />
orange underglaze and white earthenware slip on red raku. effected superb colours and textures in the<br />
impressive head-like Slipped Dow n. <strong>The</strong> Hearts <strong>of</strong> Mass series, which depicted hearts mounted flat<br />
on asymmetrical blocks, were enhanced by a matt. over-fired shino. Redolent <strong>of</strong> fragility, sensitivity and<br />
vulnerability, they signified thought overwhelming the tender, romantic, poetic heart.<br />
Altogether, Working Fire was a truly outstanding exhibition. Thought provoking, innovative and<br />
exciting, it celebrated the vision. imagination and mastery <strong>of</strong> three disparate Tasmanian wood-fire artists.<br />
Jo Mcintyre is a former art teacher. artist, freelance writer and collector <strong>of</strong> ceramics, living in<br />
Hobart.<br />
Tasmania will host a wood-fire conference at Deloraine from 28 April - 1 May 2011.<br />
<strong>The</strong> website www.woodfiretasmania.com.au will be launched soon.<br />
THE IOURNAL OF AUSTRALIAN CERAMICS NOVEMBER <strong>2009</strong> 21
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