The Journal of Australian Ceramics Vol 48 No 3 November 2009

Ceram ic Spaces
and layout, because it was purpose-built to my design to house objects. If we had to move we could
not easily recreate the same atmosphere.
OR: W ith exhibitions, the spaces lead you around the work. Instead of one space where you see
everything at once, it's a little journey around.
AM: Some people stay here for two hours and if they are not interested in the exh ibition they get
attracted to the stock display on the other side. It relaxes people who are frightened of galleries.
OR: You mean the ones who think they have to whisper so as not to disturb the silence?
AM: The ones who don't like walking into a space where they can hear the echo of their footsteps.
OR: Why a gallery and not just a shop 7
AM: W ith a shop, no matter how you build up the product, it's still just a product. But exh ibitions have
a liveliness and energy, an anticipation of something new and exciting. Also, artists are fed from an
exhibition, that social contact - it's an aHirmation, fertilising new growth.
OR: How do you select artists for you r gallery?
AM: I select the art, and the person comes with it. The artist looks for a carer for their art, someone to
show it oH at its best and appreciates it. When an emerging artist goes out now looking for a gallery or
someone to promote or sell their work they don't think about the money they are going to make, but
more about trying get some exposure.
OR: How do you go about selecting the art? In a lot of galleries it's obvious they are just following their
own tastes. If your tastes don't work out then you go down the drain. What do you do?
AM: I look at standards. First it has to have no technical problems. When you reach a certain techn ical
level and then let go, that's expression. I don't mind free work but I don't like careless or clumsy work.
Brian Keyte and Richard Knight, an integral part 01 Skepsi openings
THE JOURNAL Of AUSTRALIAN CERAMICS NOVEMBER 2009 87