The Journal of Australian Ceramics Vol 49 No 2 July 2010

Inside my studio
VG: What are you reading at the moment?
NF: The Poetry of Rilke by Edward Snow,
Glorious Dust by Sean Scully, A Theory of Craft:
Function and Aesthetic Expression by Howard
Risatti and The Craft Reader by Glenn Adamson.
VG: How do you identify your work?
NF: f. for French
VG: How do you sell your work?
NF: I am represented by Mossgreen Gallery in
Melbourne, Beaver Galleries in Canberra and
Galerie Rosenhauer in Germany.
VG: What is your favourite part of the ceramic
process?
NF: I find this question difficult as making art is
challenging and all aspects are integrated.
One of the most satisfying parts is when things
fall into place and an idea crystallizes into form.
VG: What is the dreaded job that never gets
done?
NF: Recycling clay, which I minimise as much as
possible, and bookkeeping.
Neville French, Mungo Light 3,2010, porcelain, wheel
thrown and altered 1320"(, h.24.Scm, w.30cm
Photo: Terence Bogue
VG : What are you fussy about?
NF: I have learnt to be fussy about every aspect
of making - drying, glazing and firing -
to avoid disappointment.
VG : If you could change one thing about your studio, what would that be?
NF: I would add a packaging room and storage area. There never seems to be enough room for all the
cartons and materials.
VG: Which single piece of ceramics would you most like to own?
NF: The Korean 17th century Choson Dynasty 'moon jar' in the British Museum, or a Gwyn Hanssen
Pigott still life, although I am very happy with my GHP tea set and wouldn't trade it for anything.
VG: Do you have any exhibitions or workshops coming up?
NF: After recent solo exhibitions at Galerie Rosenhauer in Germany
and Mossgreen Gallery in Melbourne, I am looking forward to some
time in the studio without any major commitments, to play and
explore.
E: n.french@ballarat.edu.au
Neville French, signature mark; photo: artist
THE 10URNAL OF AUSTRALIAN CERAMICS JULY 20tO 81