The Journal of Australian Ceramics Vol 49 No 2 July 2010

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Preview 1 Jennifer lee, Graphite stone, speckled bands, shelf rim, (detail), 2009, h.2S.2cm, w.14.1cm Photo: Michael Harvey 2 Pre-Columbian head, h.2 .7cm, w.2cm; photo: la ke Tilson 3 Chancay figure, h. I Ocm, w.3.Scm Photo: Jake Tilson Opposite page: Burnishing agate. hA.5cm, w.2.Scm Photo: Jake Tilson 3 12 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2010
Preview VG: What is your favourite tool? JL: The burnishing stone, which I bought in a 'rock shop' in Arizona in 1982, is the tool I treasure most. It's a highly polished agate and I use it to finish every pot. Occasionally I misplace it and while hunting all over the studio to find it I realise how much I rely on it. I often buy tools abroad, such as my favourite Japanese cutting wire. Other favourites are some bamboo ribs I made years ago which slowly change shape through use. VG: What do you listen to whilst working? JL: What I listen to depends so much on what I'm doing ... and on my mood. Some sounds are almost impossible to work to. Sometimes I work in silence, hearing only the birds. BBC Radio 4 is usually a safe bet in the background. When I'm mixing coloured clay I can listen to almost anything. My choice would probably be music from Morocco, Egypt, India or Japan. I particularly like Lebanese belly dancing music, weaving songs from the Isle of Lewis in the Outer Hebrides off Scotland, fishermen 's songs and arrangements of Om Kolthoum (one of Egypt's greatest singers) by Hossam Ramzy. My treasured tapes are a recording of Music from the World of Islam by Jean Jenkins - the section on the human voice has some extremely haunting tracks - and Escaly (The Water Wheel) by Nubian singer and oud player Hamza EI Din. It describes, in musical terms, the hypnotic humming of a waterwheel. It's composed using the scales typical of Egyptian music. I find that rhythm is very important. My pots are very time consuming and large pieces take three to four weeks to make. Music can increase my concentration and help me to focus. VG: How is your work made? JL: My pots are hand-built using ancient construction techniques - pinch and coil. I have developed a way of colouring my work by mixing metal oxides into the clay body before making. I don't use glaze so there 's no extra layer. VG: What is your most treasured piece of ceramics? JL: A tiny pre-Columbian head that was given to me by my 90-year-old dear friend Howard, from California. He has a wonderful collection. I haven't been able to date it, but Howard tells me similar heads with two little dots on the face like a second set of eyes would mean it is about 200-300 Be. This head is later, but still very old. He also gave me a wonderful Chancay figure from Central Peru. I have always gravitated towards objects from ancient civilizations: Ban Chiang funerary vessels, Jomon pots and Dogu figures from Japan, Classic Mimbres bowls from New Mexico and Bronze Age Beaker Folks pottery. In 1995 we travelled in India and brought home some roughly thrown chai cups which we bought whilst travelling in trains. The idea was that you drank your chai and threw the earthenware cup out the moving train's window ... the low-fired clay would eventually return to the earth. Recently I heard that plastic had been substituted for clay in the years that followed and that there is now a THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2010 I)
Page 1 and 2: ' .. , , ;(" / . ~ .- I ,
Page 3 and 4: Contents Volume 49#2 July 2010 S16
Page 5 and 6: Contributors Steve Cummings: My fat
Page 7: Australian Ce ramics Directory Aust
Page 16 and 17: Preview left to right: Jennifer lee
Page 18 and 19: Profile Maiju Altpere-Woodhead, Sou
Page 20 and 21: Profile One can be read as a physic
Page 22 and 23: Profile Altpere-Woodhead's technica
Page 24 and 25: Profile Flame, Fire and Evolution:
Page 26 and 27: Profile Geoff Crispin, Ba rrel Form
Page 28 and 29: Pro file In the last two years, he
Page 30 and 31: Profile left: Alex Leckie, ceramic
Page 32 and 33: Profile ------------ Left: Alex Lec
Page 34 and 35: ,------------ --- Profile Porcelain
Page 36 and 37: Profile Big hART's Ngapartji Ngapar
Page 38 and 39: Focus: Ed ucation and Mentoring Har
Page 40 and 41: Focus: Ed ucation and Mentoring Thi
Page 42 and 43: Mel Robson, 're collect' made durin
Page 44 and 45: Similarly, an earlier project had A
Page 46 and 47: Education AICA Education 10 Marine
Page 48 and 49: Ed ucation Chisholm Institute of TA
Page 50 and 51: Education T: 02 4868 0158 www.illaw
Page 52 and 53: Education North Coast Institute of
Page 54 and 55: Education RMIT University. Melbourn
Page 56 and 57: Ed ucation Sydney College of the Ar
Page 58 and 59: Education University of Ballarat T:
Page 60 and 61: Consider this Copyrights and Wrongs
Page 62 and 63: Ceramics Competitions Invasion Reen
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Ceram ics Competitions 1 Tatiana Gv
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Ceramics Competitions cold exposure
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Cera mics Co mpetitions Some guidel
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Ceramics Competitions lynette Griff
Page 72 and 73:
View currently without gallery repr
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View Fragments of landscape Tarun N
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Workshop From Scratch Wendy Jagger
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Workshop THE JOURNAL OF AUSTRALIAN
Page 82 and 83:
Inside my studio VG: Describe the w
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Ceramic Spaces A Passion for Cerami
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Ceram ic Spaces extensive research
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Community Co-op Co-ordinators, back
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Community ago it was a "cow paddock
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Community These images record a cro
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Events Gulgong Gossip The inside st
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Events 340 grams The Australian Cer
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Archive: Pottery in Australia, Vol
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Well Read A Potter's Pilgrimage by
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Well Read Left: Said 01 Sadr w ith
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Australia Wide dinner. Convenor Suk
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Australia Wide The Annual Melbourne
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Become a subscriber aJustralian cer
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Back Issues -- aiiStralian cer8m~ ~
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Classifieds PLINTHS PLINTHS MADE TO
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GRAPHING CERAMICS Two one-day works
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Kiln repairs, maintenance and resto
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2011 Manningham Victorian Ceramic A
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PORT HACKING POTTERS GROUP A Divisi
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Bachelor of Fine Art (Ceramics) 3 y
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Clay Extruder -all stainless steel
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Lino Alvarez Collaborations in Clay
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Books & DVDs New on the Shelf More
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The Journal of Australian Ceramics Vol 49 No 2 July 2010

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