The Journal of Australian Ceramics Vol 49 No 3 November 2010

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Contents
Volume 49/3
November 2010
S16
front cover
Kenji Uranishi, Infiltration, 2009
400 George Street. Brisbane
Back (over
Kenji Uranishi, Stream, 2009
Ipswich Courthouse
Photos: Florian Groehn
See article pages 34 - 37
The Journal of Australian Ceramics
Dales of PublicatIOn
I Apnl, 17 July, 20 November
Publisher
The Australian Ceraml(5 Association
PO Box 274 Waverley NSW 2024
T: 1300 720 124
F: 02 9369 3742
mall@australianceramic;.com
www.australianceraml{s.com
ABN 14 001 535 502
ISSN 1449-27SX
Editor
Vicki Gnma
Marketing and Promotions
Carol Fraczek
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Printed in Australia by
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State Representatives
ACT: Jane (rick.
janecrici::@dodo.com
SEOlD: lyn R0gers
romeo-whlsky@bigpond.com
NSW; Sue Stewart
steYolpot@hotkey.netau
SA: Kirsten Coelho
E: kandd@ChafioLnet.au
TAS: John Watson
iohn@dmink.net
VIC: Glenn England
gfennengland@optusnet.com.au
WA: Pauline Mann
pandpm@Westnet.com.au
2 EDITORIAL
3 CONTRIBUTORS
4 NOW + THEN
5 AUSTRALIAN CERAMICS DIRECTORY
6 AWARDS + GALLERY
TRIBUTE
10 Trudie Alfred
Karen Weiss pays tribute to a true bohemian
PROFI LE
14 Interview with lrianna Kanellopoulou
FOCUS: ARCHITECTURAL CERAMICS
18 Perspective Damon Moon looks at some examples of the use of ceramics
in architecture
22 Invasive Species Altair Roelants reports on the Clay-Slip Wallpapers of
Charlie Schneider
29 East Meets West Karen Finch profiles artist Ken Yonetani
34 Moving in and out Louise Martin-Chew examines the recent work of
Kenji Uranishi
38 Mud + Koskela = Licht Frances Morgan discusses a switched-on
collaboration
41 3000 tiles, 1 oven Marian Marcatili reports on her tile project
45 Standing Stones Simon Reece brings together lifelong loves and pastimes
TECHNICAL: MOSAIC
48 The Artist, the Mosaicist and the Architect Sophie Verrecchia shares her
passion for painting with tiles
52 The Timber Story Susie Blue tells about a community coming together
56 The Shyness of Trees Dominic Johns writes about an arts reSidency in
Penang Malaysia
REGULARS
60 VIEW 1: A Panoply of Glowing Colours Inga Walton introduces works
by Kasumi Ueba
64 VIEW 2: A Journey Beyond the Literal Troy Douglas reviews Vipoo
Srivilasa's recent collection shown in Sydney
68 WORKSHOP 1: Making the Most of Your Mud Shots
Vicki Grima, editor, gives a few guidelines for photographing your
ceramic work
71 WORKSHOP 2: A Look at Adhesive Systems by Dominic Johns
73 PROCESS + MEANING: Working the Pit Keven Francis discusses process
and meaning
76 EDUCATION: Bali Loves Dragons! Sue Buckle shares a very special
teaching experience in Bali
78 INSIDE MY STUDIO: In Conversation with Szilvia Gyorgy
82 CERAMIC SPACES: Making Sense Ross Longmuir from planet stirs the pot
to discuss viability in the digital age
87 EVENT: lS0 and counting .. , Stephanie Outridge Field sheds light on The
Matchbox Show
90 COMMUNITY 1: Mount Isa Potters Group celebrates 40 years
91 COMMUNITY 2: Parkes Potters Group turns 40
93 POTIERS MARKS
94 WEDGE: Dee Taylor-Graham
96 ARCHIVE: Pottery in Australia, Vol 23, No 2, November December 1984
98 WELL READ: Two book reviews
101 CALL FOR PAPERS
102 AUSTRALIA WIDE
."
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 1

Editorial
Aftpr a wonderful two·week
Culinary Clay workshop at
Gaya Ceramics Design In 8ali
in July 2010, we gathered In
Gaya Art Space to exhibIt the
work we had made.
Left to right: Sue Buckle,
Julie Shepherd, Judy Boydell,
Carleen Devine, Hillary Kane
(from Gaya), Vicki Grima, Jan
Gardner and Marian Howell;
kneeling, Andrea VinkovlC.
See pages 110 and 119 for
details of similar workshops In
Bali in 2011 .
As this issue goes to print I am heading to
Fuping, China, to participate in the 3rd ICMEA
Conference 2010. This (International Ceramic
Magazine Editors Association) gathering of
editors, together with speakers and artists from
around the world, will attend the opening of
the East European Ceramic Art Museum, the
award ceremony of the Emerging Ceramic Artist
Competition, in which generous prizes are given,
as well as a lecture series and accompanying
tours to museums and potteries. Congratulations
to the eighteen ceramicists from Australia chosen
to enter the final round of the competition. It will
be good to see some of them in Fuping.
Also as I write this, Charlie Schneider is
creating another work for Bondi 's Sculpture by
the Sea. After talking to Charlie at Clay Energy
in Gulgong, I was reminded of Christo wrapping
up my local beach, Little Bay, in 1968. Keen to
share his interesting work, this issue features
recent installations created during his stay in
Australia earlier this year, in which he painted
and stencilled ephemeral. clay slip-decorated
wallpaper onto an assortment of surfaces.
Historical references to common pests and
invasive species of Australia in the stencilled
silhouettes, his use of otherwise ignored
architectural structures such as dam walls, and
the transient nature of the wallpaper designs
give Charlie's work an exciting edge.
See pages 22 - 28.
And speaking of Gulgong, I hope you'll be
able to enjoy a trip to Gulgong over the summer
holidays to view TIME + PLACE: Australian
studio ceramics 2010 at Cudgegong Gallery.
As curator, I have gathered together thirteen
ceramic artists who, in their work, reflect the
physical and the intangible spaces, the minutes,
hours and the years in which we live and work.
Opening on Saturday afternoon 11 December,
the exhibition will continue through January
2011. Perhaps I'll see you there ...
~.

Contributors
Susie Blue is a Sunshine Coast artist with
broad experience as a designer and illustrator.
Her ceramic adventures grew from a love of
mosaic and her work combines hand-built
forms with applied mosaic and other mixed
media. She wants to visit Barcelona and see
Gaudi's work before she dies!
E: susieblueart@yahoo.com.au
M: 0421 805 853
See pages 52-55
Karen Finch (B Vis Arts & App Des, MA)
majored in sculptural ceramics and is a
professional musician . As a writer, she
specialises in decorative arts, in particular
ceramics, and contemporary design, and
has featured in many local and international
industry journals. She is also feature writer
for the online journal, www.5uite101 .com .
E: karenafinch@gmail.com
M: 0402 837 284
See pages 29-33
Louise Martin-Chew is a freelance writer
based in Brisbane. She is a regular contributor
to national newspapers, art magazines and
books. Most recently she co-wrote with Judy
Watson, Judy Watson Blood Language(MUP.
2009) and w as a contributor to Fiona Foley:
Forbidden (20 10). She is a director (with
Alison Kubler) of mclk art consulting.
E: Imc@arthouse.net.au; M: 0418 267 197
www.mckartconsulting.com
5ee pages 34-37
Altair Roelants is a freelance arts writer
from London who relocated to Sydney in
early 2010. She has been working in the
arts for the last ten years and is both a lover
and hoarder of ceramics. Altair met Charlie
Schneider, also a newcomer to Australia, on
an Art Month Sydney 2010 tour where the
idea for this article was first cult ivat ed.
For arts writing, please contact Altair,
E: altairuk@yahoo.com
See pages 22-28
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 3

Now + Then
The Australian Ceramics Association is happy
to announce it's new President. Dr Patsy Hely,
an academic and artist working in the field of
ceramics. Her work is held in many national
public colledions and she exhibits her work
widely. Currently, Patsy is Convenor of the
Honours program at ANU School of Art. She was
awa rded a doctorate in 2007. Welcome Patsy!
exhibited, the judging panel will award one artist
a $10,000 non-acquisitive prize.
Applications close 30 November 2010
www.daudioalcorso_org
Have you booked for Woodfire Tasmania
in April 2011? Neil Hoffman and his team
have planned a great program, together with
some really exciting pre- and post-conference
workshops.
Go to www.woodfiretasmania.com.au for
the details.
Sculpture in the Vineyards 2010 opened in
October and continues through to 2 January
2011. This three-month contemporary sculpture
exhibition and award is set amidst five of the
stunning Wollombi Wine Trail vineyards and
The Gate Gallery, featuring the work of fifty-five
established and emerging sculptors.
www.projedroom.com/sinv/
Penny Smith, Caress - a Touch of Intimacy. 2009,
edition: 1/10; porcelain, slip·cast, glazed interior, polished
exterior, h.7.Scm; photo: Peter Whyte
Look out in Coles or Woolworths for a lovely
new cookbook, Buy West Eat Best which
features, along with some great recipes, Melanie
Sharpham's Eucalypt Homewares plates and
bowls. Read more on Melanie's blog:
www_eucalypthomewares_blogspot_com
Vitrify is a new annual $10,000 ceramic art
award presented by the Alcorso Foundation. It is
open to artists nationally and offers four seleded
artists the opportunity to prepare a small body
of work for a commercial exhibition that will be
held at the respeded Colville Gallery in Hobart's
Salamanca Place. On the basis of the work
Vale: Glenn Norman, potter
Died 3 Odober 201 a whilst bushwalking in
South Australia; aged 44
Kay Scott pays tribute to the
late Peter Laycock of the
Potters School in Warrandyte.
4 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Australian Ceramics Directory
Australian Ceramics Directory
Add Entry
Erin lyko,
Barmer. SA 5090
E: erin@lykos.com.au
http://erinlyko,.blog'pot.com
Erin l ykos enjoys experimenting with many styles and
techniques. both fundional and sculptural. For the past three
years her produdion work has been predominantly brightly
coloured and fundional. In 2006 she completed a Bachelor of
Visual Arts and Applied design through Adelaide Centre for
the Arts, after which she worked for two years as a Design
ASSO(late in JamFadory's ceramic studio.
Vicki Passlow
Bawley Point NSW 2539
E: vickipasslow@netspace.net.au
My current body of work speaks of containment and flow.
Nature is an important source of inspiration. as are the
domestic objeds around me. My porcelain vessels are a
refledion of life changes in recent years: a shift In career, a
move from urban to coastal environment and. more recently,
the transition from student to pradiSing artist. Emotions
accompany the journey and mirror the changes: sometimes
contained. sometimes flowing.
Brenton Saxby
Beechworth VIC 3747
E: bandmsaxby@westnet.com.au
Aenal views of the earth's surface present rich Visual
experiences from viewpOints varying In distance from the
surface. Sometimes I explore varying viewpOints In the same
piece . Maps and satellite images provide a starting point.
Works are construded upside down over plaster moulds.
I constantly experiment with dry glazes to achieve subtle
colour and surface variations.
http://australianceramics. com/homeli ndex, phpl Aust -Ceramics-Oi rectory I
THE lOURNAl OF AUST RALIAN CERAMICS NOVEMBER 2010 5

3

Tri bute
Trudie Alfred; photo: courtesy family archive
Trudie Alfred, stoneware. iron rock glaze. oxidised,
8"x 5"; photo: Roderic Vickers; Pottery in Australia, Vol 8,
No 1, Autumn 1969
Trudie Alfred
Karen Weiss pays tribute to a true bohemian
Dover, November 1938
Trudie Oppenheimer stepped down from the gangplank, small suitcase in one hand, She was tired
and the stress of travelling, the farewells to her family, the cold and confusion of a strange country, and
a language she knew only from high school classes, had her looking around eagerly for a familiar face.
She was fifteen years old. Behind her was her life in Vienna as the youngest of three daughters,
the child of her father's second marriage, the much-loved baby of a genteel middleclass Jewish family.
Within a few days of her arrival in England, all that was swept away in the outburst of Nazi hatred of
Kristallnacht. Synagogues burned across Vienna, Jewish shops were smashed and looted by the Gestapo
and SS while the fire brigade, police and bystanders stood and watched. Jewish homes were ransacked
and terrified families were herded off to Dachau and Buchenwald concentration camps. Trudie was
never to see her parents again; they were murdered by the Nazis.
Fortunately, Trudie was to escape this fate due to the farsightedness of her older sister Selma . Shortly
after the Anschluss (the annexation of Austria by Germany) in March of 1938, Selma left for England
and found herself work there. As soon as she could, she arranged for Trudie to come to Oxford, finding
her a job as an au pair for a family with a disabled child. Throughout the war and until 1948, Trudie
stayed in Oxford, working as a seamstress and dressmaker, and a librarian. Trudie had studied Drawing
and Textile Design at her high school in Vienna. In Oxford, she joined evening classes in pottery and in
those dingy, earth-smelling rooms discovered her lifelong passion for clay.
In the meantime, her sister Selma had emigrated to Australia in 1940, braving the uncertain sea
10 THE IOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Tribute
1 left to right: Martha, Trudie and Selma
Photo: courtesy family archive
2 Trudie Alfred, Potters' Society Biennial
Exhibition, Potters' Gallery, Sydney; photo:
Douglas Thompson; Pottery in Australia,
Vol 10, No 2, Spring 1971
3 Trudie Alfred; photo: courtesy family
archive
passage w ith her husband. Selma's one desire was to see her family reunited and safe, far from wartorn
Europe. The couple settled in the small town of Ravenshoe, high in the Atherton tablelands in Far
North Queensland. They eventually were able to set up their own business, a small restaurant providing
decent meals to the local timber mill workers and cane cutters. Selma kept in contact with Trudie via
mail and after the war managed to locate their eldest sister, Martha, who miraculously had survived the
concentration camps.
Selma, being able to offer them jobs at the restaurant, sponsored Trudie and Martha's migration
to Australia. Grateful as she was to Selma, Trudie hated it at Ravenshoe. She missed the stimulating
conversations she'd had in Oxford and above all, the arts - the classical music she loved, the theatre, the
literature, the fine arts, all of which were in short supply in Ravenshoe. The restaurant was sold in 1950
and Trudie moved to Cairns and then Surfers Paradise where she met and fell in love with Gary Alfred,
an Irish poet with a love for partying, pubs and reciting Oscar Wilde. Together they moved to a cottage
at Kurrajong Heights, in Sydney's outer suburbs, .
Their bohemian life continued, filled with friendships, poetry, theatre and music. For a while, Trudie
worked for a small pottery factory, Vande Pottery in Mosman, under Sam Vandesluis. The work was
mainly slipcasting and decorating, but there was a wheel and Trudie threw pots in her spare time.
Vandesluis planted cactus in her pots to sell, but soon her pots were more popular than the cactus. In
addition, Trudie and Gary started a small business together, selling advertisi ng space round dartboards in
pubs.
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 11

Tribute
•
•
-­ __" c" .
---'..-
3
1 Trudie Alfred, photo: Hans Marcus; Pottery in Australia, Vol 3,
No 3, November 1964
2 Poster, Sale of Trudie Alfred's pottery, Hughendon Boutique,
June 2009
3 Trudie Alf red, Raku, wood-fired, 800'(, 4"x 6"; photo: Geoff
Hawkshaw; Po ttery in Australia, Vol 6, No 2, Summer 1967
This life came to an end in 1958 when Gary died, Trudie having married him shortly before he passed
away. Devastated by Gary's death, Trudie accepted Selma's invitation to move in with her family in
Chatswood, Sydney. In 1962 she began teaching pottery at the Workshop Arts Centre in Willoughby.
Teaching was to be the path that she followed for the next forty odd years. Pottery was something
Trudie loved so much she felt she had to give it to others, to convey the beauty of clay and inspire her
students with her own enthusiasm.
In the mid-sixties, Trudie moved to Woollahra in Sydney's eastern suburbs, and later to Rose Bay,
teaching at the Waverley Woollahra Arts Centre and the Eastern Suburbs Evening College. Here her
artistic life flowered and she worked hard, exhibiting with the Craft Association of Australia, the Arts
Council of Australia, the Potters' Society and many others. Her pieces show the combination of robust
modernist forms and Anglo-Oriental stoneware glazes that unmistakably identify work of this period.
One of Trudie's pieces was selected for the permanent collection of the Museo Internazionale delle
Ceramiche, Faenza . Her book, Decoration on Pottery, published in 1980, went through two editions.
Trudie had other interests: she was a poet and a musician and she drew and designed. She enjoyed
theatre, opera, keeping up with the latest in contemporary art and she read Widely. Trudie travelled to
India, Sri Lanka, and Japan, a country for whose ceramic art she had a special regard. Several times she
led groups of students on ceramics tours of Japan. She was a seeker of spiritual wisdom, knocking on
12 THE 10URNAl OF AUSTRALIAN CERAMICS NOVEMBER 2010

Tribute
1 + 2 Trudie teaching at a workshop
3 A recent photo of Trudie
Photos: courtesy family archive
many doors, and for many years she led a study group of the Course in Miracles; but her real passion,
the centre around which her life revolved, was ceramics. She chose not to have children . Her artworks
were her children.
However, it is for her gift of teaching that Trudie is best, and most fondly, remembered . Her former
students speak of her ability to infuse them with confidence in their own creativity. There are several
stories of people coming to Trudie's pottery class at a low point in their lives, when her cheerfulness,
encouragement and support made a real difference to them. Some have gone on to become ceramicists
themselves.
Trudie found it a struggle financially when she was studying ceramics so for many years she helped
to ra ise money for the Bezalel Academy of Art and Design, Jerusalem. Her final act of generosity was to
leave a bequest, the Trudie Alfred Bequest, to The Australian Ceramics Association to be used to help
financially support ceramics students.
Vale Trudie Alfred.
My thanks to the following people for sharing their memones of Trudie - Selma Kahane. Keith and Mane Westgarth, Denise Barsoum, Julie
Bartholomew. lucie Langford-Pollak. Joy Bye. Tom Arnott, LIzzy Ryan, l~ Johnson, Magdalena langer, and to many others for thlm help
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 13

Profile
Irianna Kanellopoulou
Vicki Grima: What is your current focus 7
lrianna Kanellopoulou: The general focus of my work is narratives that investigate issues of our
emotional associations with everyday objects and memories. I am particularly drawn to using figures and
animals as cultural objects, and creating a narrative to explore identity, displacement and movement by
creating a surreal reality - a super reality. The dialogues and dioramas that are created are loaded with
symbolism where figures and animals are interchangeable and deliberately shift relationships between
human and animal qualities.
VG: Why is ceramics your material of choice?
IK: It is so pliable and tactile - the physical interaction is immediate and can be quite raw. No tools
are necessary to work with this material if you so choose. I also admit that I enjoy its messy nature as
well! I also enjoy working with its dual states - solid and liquid. Slip is very fascinating to me, not only
for its ability for immense detail, but also in terms that as a material you first have to contain it before
you form it.
VG: What is your favourite tool?
IK: I have a very normal, very average knife that, for some reason, I cannot work without. I think it
has something to do with the way the tip has been shaped and worn through the years. I have tried to
wean myself off it by purchasing a couple of new knives but I still keep coming back to my favourite.
Another 'tool' that I am very reliant upon are the moulds I create, which in turn help me shape the
work. I generally slip-cast different components and then manipulate these to create the forms that I am
after. It's a very long process of creating a piece. First the mould needs to be made before the individual
components can be slip-cast and then the final composition is hand-built and assembled. I think of it as
creating artwork by deconstructing it first; and of course a heavy dose of obsession doesn't go astray.
For this new body of work I made more than fifty new moulds.
VG: What do you listen to whilst working?
IK: Classical music is great for when I am working on something tricky or complicated. My favourite
composer is Mozart and in particular I love listening to arias and duets from the Magic Flute, Cosi
I
I
I
'4 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

lrianna Kanellopoulou, Frederik, 2010, mid~fire clay, multi-fired glazes, h.13cm, w.12cm, d.7cm; photo: Jeremy Dillon

Profile
ik
Ir1anna's treasured ceramics,
the money bank couple
lrianna's moulds
Fan Tuite, Marriage of Figaro and Don Giovanni. I also have a great mix of current alternative and
independent music which is great to keep energy going and flowing in and out of dialogue with the
pieces I'm making. Throw in some Andrews Sisters, Aretha Franklin, Nina Simone and season with
Beatles, Monkees and a touch of Bee Gees and Kate Bush and I'm happy!
VG : What is your most treasured piece of ceramics?
IK: I have a pair of ceramic money banks - a girl and a boy. It's quite a sentimental piece as they
feature in some of my earliest ch ildhood memories. They were on display quite low in our house and as
a toddler I remember them more as blurs of colour and shape as I was always crawling around them.
VG: What inspires you?
IK: My number one source of inspiration would have to be travelling - visiting different countries and
cultures. It is a remarkable and fascinating feeling that you are seeing everything new again, from a new
perspective. It's a great opportunity to go beyond what is comfortable and familiar, and it's a great tonic
for your sense of humour!
lrianna Kanellopoulou
The Green Show
23 November - 19 December 2010
Brenda May Gallery, 2 Danks Street, Waterloo NSW 2017
T: 02 9318 1122; F: 02 9318 1007; E: info@brendamaygallery.com.au
www.brendamaygallery.com.au
Tue to Fri, 11am - 6pm; Sat, 10am - 6pm; Sun, 11am - 4pm
16 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Profile
Irianna Kanellopoulou. Say What?
2010, h. 17ern, w.1gern, d.6crn
Irianna Kanellopoulou
Tra lala lala
h.22ern, w. 17em, d.16em
Mid ~ fi re clay, mult-ifired. glazes
Photos: Jeremy Dillon
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 17

Focus: Architectural Ceramics
Perspective
Damon Moon looks at some examples
of the use of ceramics in architecture
" I cross the room like a dancing architect
A daddy waltz on the tops of my shoes ... "
Don't Respond, She Can Tell from Interbabe Concern by Scott Miller/Loud Family,
1996 Alias Records
Let's face it - arch itects are cool. They wear good clothes, have distinctive taste in spectacles and
build fabulous, titanium clad post-modernist cathedrals to art which rejuvenate entire cities . Even in
the fraught and over-hyped world of contemporary art it's obvious that the star attraction of the Bilbao
Guggenheim is the building and its architect, Frank Gehry, and not the art inside.
On the other hand, ceramists are not really cool and probably never have been. There may have been
a certain cachet afforded to the hand-spun, tie-dyed and hirsute in the 19605, but ceramics has really
always been just this side of macrame as far as the mainstream arts establishment goes, and it probably
always will be.
Given this, it might seem strange that in the early days of the post-war Australian crafts movement
architects featured prominently in generating support for the crafts. They encouraged craftspeople to
extend their vision by commissioning works for buildings, by helping with exhibition design, by collecting
works to be shown in their own and in client's houses, and by participating in an active dialogue as to
how the built environment and the hand-made object might co-exist in the modern world.
Sydneysiders should be more aware of this than most, since they have in their midst one of the
greatest examples of twentieth century arch itecture in the shape of the Danish architect Jorn Utzon's
Sydney Opera House, a building totally covered with white ceramic tiles. One might fairly ask if the
tiles, made by the Danish firm H6ganas, are the product of craft or industry, or indeed are any more
significant than the ubiquitous clay bricks from which the majority of Australian houses are constructed.
But what this building represents, at least in part, is the emphatic arrival of a Scandinavian design
aesthetic in Australia, and with it the promise of an integration of crafts and industry, an ideal which
now probably falls in to the category of 'nice work if you can get it' but which, nonetheless, had much
currency at the time.
18 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Focus : Architectural Ceramics
Above: Joan Mir6 and ceramicist Jose Llorens
Artigas, Wall of the Sun and Wall of the
Moon, 1958. Unesco Building, Paris, h.2.2m
Left: Bette and Damon Moon at Guel! Park,
Barcelona, 1966; photos: courtesy Damon Moon
If only a few modern buildings were entirely covered with ceramic tiles - and, after all, the Muslim
world had taken this technique to heights of extreme beauty and sophistication hundreds of years
before - then the fifties and the sixties also saw a rebirth of interest in other ways to marry ceramics to
architecture. One was in the use of mosaics, with perhaps the greatest example being Antonio Gaudi's
Guell Park in Barcelona, where the order and discipline or the traditional tiled ceramic surface is literally
shattered into a colourful, fragmented universe of inspired crazy-paving.
A related use of architectural ceramics was fou nd in feature walls or panels, which had the advantage
of being able to be either outside or inside a building, due to the ability of ceramics to cope with harsh
environments. The artistic partnership of the painter Joan Miro and ceramicist Jose Llorens Artigas gave
us monumental outdoor panels in the 1957/59 Wall of the Sun and the Wall of the Moon for the
Unesco Building in Paris, work so important that it led to Miro receiving a Guggenheim award in 1958.
(Ironically, these artworks are now enclosed by a building in order to protect them from the effects of
acid rain . Perhaps ceramics are not quite as durable as we think ... ) Some Australian examples of public
ceramics murals, as in Vincent McGrath's three metre by eleven metre Wall, completed in 1980 for
the Attorney General's Department in Alice Springs, are mentioned in an excellent article by Romaldo
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 19

Marea Gazzard, Two Containers, 1959
Photo: Don Gazzard
Giurgola, one of the architects of the new Australian Parliament House. This article, first published in
1984 and now reprinted in this issue of The Journal of Australian Ceramics, gives an insight into how
one of this country's leading architects sought to incorporate the work of Australian craftspeople into
the very fabric of this important building (if that isn't mixing metaphors) right from the planning stages. '
On a more intimate scale, the interiors of 1960s architect-designed modernist houses, with an
emphasis on natural surfaces largely free from overt ornamentation, provide a wonderful setting for
ceramics of the period. There is a certain 'rightness' in seeing stoneware ceramics displayed in this
setting, whether as tiles, functional pottery or decorator pieces.
For example, in the ceramics of Marea Gazzard one sees a soph isticated take on the vessel as
domestic sculpture. Before studying in Europe in the 1950s, Marea Gazzard, who was married to the
architect Don Gazzard, had been exposed to the work of avant-garde British ceramic artists like Lucie
Rie in the pages of influential architectural magazines like Domus. In England she had contact with Rie,
as well as with the work of the artists Nicholas Vergette and Ha ns Coper, and it was Coper's work in
particular that deeply informed Gazzard's ceramics on her return to Australia in 1960.
At the time, only a few Australian potters were experimenting with forms beyond the purely
functional. It is true that many potters had made smaller scale sculptural pieces - John Percival's famous
Angel works are a good example - but it is a mistake to confuse this work with ceramics which have a
more direct connection to architecture.
These connections are sometimes obvious, as in the incorporation of ceramics into a building or
its surrounds; at other times they are more indirect. Sometimes it is just a question of scale, as when
the Austrian-born sculptor Bert Flugelman collaborated with Les Blakebrough on large scale ceramic
sculptures that were made and subsequently exhibited at the Sturt Workshops in Mittagong. To pick a
20 THE JOURNAL Of AUSTRALIAN CERAMICS NOVEMBER 2010

~------------------------------------------------------------------------- -------~------,
Focus: Architectural Ceramics
_._- .... -------_ ..
---_._-----_ ..
------_
-
.._-- ........---_.....-_-_ .
---- .. ---~----
-----------
...-
__ -------. ..-
_________ I1.' L .. .
_
twu.;l ... ·TWO
1 Bert Flugelman and les Blakebrough, ceramic
figures, Sturt Pottery; Pottery in Australia, Vol 1, No 2,
November 1962
2 Deborah Halpern, Angel. 1987-89, since 2006
Birrarung Marr; 1987-2002 NGV moat, Melbourne
3 Al eks Danko, Songs of Australia Volume 3,
At Home, Adelaide SA; photo: Damon Moon
more contemporary example, Deborah Halpern's well-known artwork Angel (not to be confused with
the Percival ones), originally sited at the entrance to the National Gallery of Victoria and now found
at Birrarung Marr park on the banks of the Yarra River, is architectural in nature not only because of
its scale but through its intent, in that it was commissioned to be a part of a building or its immediate
surrounds. This is seen quite literally in the visual pun of the sculptor Aleks Danko's, Songs of Australia
Volume 3, At Home sited in the courtyard facing the JamFactory Craft and Design Centre, the
Experimental Art Foundation and the entrance to UniSA's City West Campus in Adelaide."
It seems likely that the emphasis has shifted in contemporary arch itectural ceramics in Australia, from
large-scale public commissions to community-based projects. However, given the obdurate nature of the
material and its intrinsic connections to the built environment, ceramics will probably always find some
place in the architecture of the day.
Damon Moon Willunga 2010
1 I feel II IS reasonable to claim RomaJdo Guirgola as Austrahan Since, although he was born and trained in Italy and has spent much lime living
In America, he took up Australian atizenship In the 1980s
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 21

Fo cus; Architectural Ceramics
Invasive Species
Altair Roelants reports on the Clay-Slip Wallpapers of Charlie Schneider
American installation artist Charlie Schneider's recent projects in New South Wales, draw attention
to man 's 'patterning' of the world by transforming overlooked and forgotten structures through
striking, large scale clay slip stencilled 'wallpapers' that illuminate invasive species, both animal and
plant, in Australia . The artist's vast ephemeral murals depict common pests such as rabbits and cane
toads through a variety of bold motifs cast in hues of scorched red, green, warm greys and off-whites.
Schneider's practice functions on multiple levels, representing both the challenges invasive species
pose, as a metaphor for man's widespread impact on the world's environment, and our desire to exert
geographic and spatial control over nature and landscape rather than finding a balance and sense
of belonging within them. Schneider's projects in Australia resonate in a country that often aligns its
national identity and, in turn, visual culture, with the scale and severity of its landscape and history of
colonisation.
Heralding from Davis, a small town in the Californian Central Valley, Schneider's invasive species series
has developed from the artist's broader interest in man 's relationship and integration into landscape
and place. While working in ceramics in the United States, Schneider initiated his clay slip wallpaper
project in April 2009, during a period in which he had began to think about the conceptual gravity of
street art, an area that the artist has strong but mixed feelings about. Schneider felt impassive about the
territorial bravado contemporary street art is often fuelled by; rather he wanted to extract the historic
and symbolic potential the medium offers to make bold, site-specific visual statements about belonging
and place. By incorporating ceramic materials and tools as a base for this process, Schneider was able
to harness this urban aesthetic but with a natural and ephemeral twist, creating large-scale anonymous
works without leaving any permanent damage on the structure or environment in which he worked.
Subsequently, Schneider's clay slip mixture has become a fundamental conceptual element of his work.
Because the artist never fixes the clay sl ip with a binder, the works undergo natural processes of decay,
in sync with the surroundings they are responding to. Thus, the wallpaper eventually reintegrates into
the place of making and its natural decomposition is an essential component of the work. This cyclic
process reflects one of the artist's key concerns: that we need to find a synthesis and sense of belonging
w ith landscape and nature. The choice of site is key, as Schneider often chooses to work on structures
that represent environmental or geographic restra int and moderation - as he explains, " dams altering
flow patterns, culverts showing where a road has gone over a stream, bridges spanning undulations in
the landscape for more regular movement" 1 The absurdity of a wallpaper motif in a rural setting, or on
the exterior of a building (traditionally associated with the domestic or interior space), communicates
this observation visually with great effect, as the natural is superimposed over the man-made, a reversal
of history and fortune. The process of research, documentation and logistics that precedes the finished
wallpaper is a long and involved one, and just like the wallpaper's final decay, is an important part of the
overall work.
22 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Focus: Architectural Ceram ics
Charl ie Schneider. Cane Toad Rabbits on Glass (Bufa Marinus and Oryctolagus cuniC/us) , 2010,
clay slip on glass, h.5m, w.2m, Faculty of Build Environment, UNSW, 5 -33.917901 E 151 .229451
Photo: artist
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 23

Focus : Architectural Ceramics
In February 2010, Schneider relocated his clay slip project to Sydney in order to complete a Graduate
Certificate in Sculpture, Performance and Installation at the University of NSW, College of Fine Arts. On
previous visits to Australia, the artist had been fascinated by the landscape, the people and Aboriginal
culture'S relationship to place. While based in Sydney, the artist applied his unique ceramic-based
wallpapers to un-noticed or ignored structures and, not surprisingly, he has received a great deal of
institutional and peer encouragement. Fittingly, the first of his Sydney based installations was Cane
Toad Rabbit, an evolving wallpaper that slowly spread across a brick wall in the artist's backyard
in Chippendale. Schneider further developed this motif in June, when he was invited to create a
wallpaper on one of the external glass walls of the University of NSW, Faculty Building of Environment.
The resulting work, Cane Toad Rabbits on Glass (Buto Marinus and Oryctolagus cuniC/us) is a
vertical, floor to ceiling clay slip mural measuring 5 m x 2 m with an army of leaping and squatting
terracotta and white rabbits and cane toads who peer out onto the pathway that surrounds one of
the faculty's grassed communal areas. As with all his works, the composition of the rabbits and toads
is carefully thought out to mimic antique wallpaper. Their silhouettes are assembled in a grid of circles,
the rabbit's legs taking on the opulent swirls found on flocked wallpaper. As well as being two of the
most widespread and destructive pests in Australia, Schneider liked the fact that "they both hop"z,
Below and opposite page: Charlie Schneider, Cane Toad Rabbit Walfpaper (Bufo marinus and Oryctolagus cuniC/us),
2010, clay slip on brick, h.270cm, w.3S5cm, 5 -33.88571 E 151 .195837; photos: artist
24 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

hinting towards an animated wallpaper. Similarly,
by working on glass, the viewer experiences the
pedestrians' silhouettes as they pass behind the
piece and the light reveals the natural texture of
the clay slip, this further animates the work and
highlights the interrelated themes of nature and
man.
In contrast, Schneider's commission Vessels
of Smoke and Flowers, completed in June for
the Hunter Institute TAFE in Newcastle, inscribed
the exterior brick wall of the institute's gallery
entrance with a fleet of stencilled grey coal ships.
Unlike the majority of his other works that take
their inspiration from organic forms, Schneider
designed this motif to reflect Newcastle's
relationship to coal, it being one of the major
exporters to the Asian market. The coal ship
THE 10URNAL OF AUSTRALIAN CERAMI CS NOVEMBER 2010 2S

Focus: Arch itectural Ceramics
Charlie Schneider, Vessels of Smoke and Flowers, detail
reminds us that many of the invasive species in Australia, and much of the world, were introduced
to foreign shores through shipping routes. Interestingly, the piece also functions as a 'Rubins Vase', a
cognitive optical illusion created through a single image that presents the viewer with two conflicting
visual readings. As the title alludes, Schneider's design can be read as either a ship with a thick plume
of smoke, or a vase heavy with flowers. The double-reading of Vessels of Smoke and Flowers, is a
play on the artist's theme of interrelation, in this case the necessity of coal to the economic livelihood
of Newcastle and the surrounding region and, in turn, its devastating effects on the environment.
Schneider hopes that students and visitors read the inscription on the exterior of the gallery as a positive
metaphor: that once the wallpaper has washed away, art remains; similarly, when the coal ships leave
Newcastle's harbor their economic legacy should be reinvested back into the community.
One of Schneider's most ambitious Australian works, that saw the artist return to the landscape he is
familiar with, was Dam Wallpaper #2 (Datura Inoxia). This piece was completed in May 2010 during
his COFA Residency at Fowlers Gap Arid Zone Research Station, an internationally renowned research
centre located in a remote rural area in Western NSW, about a twenty-hour drive from Sydney. The work
at Fowlers Gap is a follow-on to the impressive work Dam Wallpaper, Yellow Starthistle (Centaurea
solstitialis) that Schneider and nine cohorts completed over the course of a few weeks in Yolo County,
California in October 2009. For Dam Wallpaper #2 (Datura Inoxia) at Fowlers Gap, Schneider and
a friend spent three and half days covering a battered 40m long concrete dam wall of varying heights
ranging between 1.5 m and 3 m, with a vast burnt red and white clay slip stencilled mural detailing the
infamous and often deadly plant Datura Inoxia. Schneider chose this particular species because it is
invasive in the region and because the plant teeters between being a toxic hallucinogenic and deadly.
As the artist describes, "I liked that symbolically it represented how a little alteration of the environment
can be a profound windfall for humans, but a large amount can be fatal. "3 The subtle stencilled design
that covers the length of the dam cuts an arresting, almost hypnotic divide, between the arid landscape
on the one side and the reflective deep waters of the Fowler'S Gap Reservoir that the dam contains.
26 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Focus: Archi tectural Cera mics
Above: Hunter Institute, Newcastle TAFE
Below: Charlie Schneider, Vessels of Smoke and Flowers, 2010, clay slip on brick. and timber, hAm, w.11 m, Hunter Institute.
Newcastle TAFE. 5 -32 .927174 E 151.766855; photos: Nicky Whelan

Charlie Schneider, Dam Wallpaper #2, (Datura inox;a), 2010, clay slip on concrete, h.4m, w.40m, Fowlers Gap Research
Station, UNSW, N -31.0669 W 141 .6720, photos: artist
Below: Dam Wallpaper #2, (Datura ;nox;a), detail
The floral wallpaper Juxtaposed between these
two starkly different terrains draws our attention
to the dam's function and materiality and,
quite dramatically, its forced and constrictive
relationship to the surrou nding environment.
Charlie Schneider's on-going clay slip projects
bring into focus the interrelated patterns
expressive of our own actions that we now seek
to regulate. Schneider hopes that his work will
bring an awareness and sensitivity towards man's
relationship to nature and the careful balancing
act tha t these two powerful, conflicting forces
oscillate between, encouraging us to consider
where we are now as a society and where we
hope we are heading, and, ultimately, to be
more inquisitive about our own relationship to
landscape and place.
Charlie Schneider is currently undertaking a
Master of Fine Arts in Ceramics at the School
of the Art Institute of Chicago. The artist
recently returned to Australia to create work
for Sculpture by the Sea 2010.
www.sculpturebythesea.com
1, 2 and 3, OUOtes from an intel'Vlew WIth CharlIe Schnefder,
September 20 I 0
28 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Focus : Architectural Ceramics
Ken Yonetani, Dead Sea, 2010, porcelain, glass, LED wave light, metal, table h.63cm; photo: Ian Hill
East Meets West
Karen Finch profiles artist Ken Yonetani
Ceramic artists in the West have long looked to Japan for inspiration, drawn by the marriage of
philosophy and creative practice. Bernard Leach set a precedent in his travels and study of the Japanese
way with clay that has been emulated by generations of Western potters in the ensuing years. Ken
Yonetani comes to contemporary ceramics from that Japanese tradition, having trained with a Master,
Toshio Kinjo, in Okinawa, prior to relocating and developing his practice in Australia.
Yonetani, following the other Japanese tradition of career development, trained initially in economics
and worked in Tokyo for three years at the foreign exchange market. Night classes in ceramics offered
him an opportunity to begin exploring his creative side, leading to him resigning from his job. He
travelled to Australia in 1999 with his Australian wife (whom he had met in Tokyo), spending twelve
months in Canberra and worked in various jobs to support himself. He was offered the chance to audit
the degree course in ceramics at the School of Art at the Australian National University; then his wife
Julia was awarded a three-year scholarship to study history and politics in Okinawa Japan, leading to
Yonetani searching for, and finding, a Master with whom to train in the Japanese tradition.
A Japanese ceramics apprenticeship is unlike any Western apprenticeship, and would ordinarily
mean years and years of menial tasks before the apprentice began to be able to learn to work the clay.
However, Yonetani's Master is Okinawan and also had health issues, which required that Yonetani learn
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 29

Focus : Architectural Cera mics
techniques much earlier than would be the norm. Rather than being relegated to basic duties, Yonetani
was taught traditional throwing, hand-building and press-molding techniques, making the base forms
of many of his Master's range of pieces. The pieces then went to his Master for trademark motifs, and
onto another worker for glazing, Yonetani speaks of the meditative nature of the repetitive process,
turning out identical item after identical item as part of a hand-made assembly line of work. He says
it enabled him to form a 'friendship' with the clay - a local red clay with additional grog, which was a
difficult clay body to work with and prone to cracking and considerable shrinkage.
While under his apprenticeship - although he was learning construction techniques earlier than
he could have anticipated - he was not permitted to make any of his own work. However, the local
environmental issues were beginning to inspire Yonetani. Okinawa is one of the region's premier dive
sites, and Yonetani took advantage of living by one of the best local reefs. But he discovered that the
reef was victim, as are many of the world's reef systems, of chemical and climatic assaults. The annual
rainy season, which washes topsoil with its loading of agricultural chemicals from the sugar cane fields
into the ocean, has had a devastating effect, killing off significant areas of the reef resulting in what we
know as coral bleaching.
Back in Canberra, at the end of three years in Okinawa, Yonetani enrolled in the Masters Degree at
the School of Art. Inspired by his investigations into environmental issues and the need to find a motif
for his body of work, he worked with CSIRO scientists who were located next to the art school campus.
He met with an entomologist Kim Pullen, learning about Australian butterflies and moths. His major
work was a collection of slip-cast tiles featuring local butterflies and moths which he installed in the
foyer and the main gallery of CSIRO Discovery, covering the entire floor area, forcing people to walk
over the tiles, breaking them. This was filmed, and he noted different behaviours, that he based on age
and gender, of the people navigating his temporary floor - women largely trying to conseNe the tiles,
men walking across them, and children often relishing the opportunity to jump and shatter the tiles. He
later gathered the shards and created mandalas of the fragments in different places, creating new works
from the pieces.
His investigations into humanity's effects on the natural landscape continued, and his initial interest
in the devastation caused to the coral reef in Okinawa by the local sugar industry was transplanted to
Australia, with its significant industry in Queensland and potential for damage to the Great Barrier Reef.
The initial works were created out of sugar -large-scale sculptures made of a sugar compound that
set hard and had the appearance of fired porcelain. These were first exhibited at Artspace in Sydney,
where viewer participation w as via the seNing of coral shaped cakes at the opening. The success of this
installation led to an invitation to repeat it at the Venice Biennale in 2009.
Bendigo Art Gallery's commission for their exhibition Your Move: Australian artists p lay chess
offered Yonetani the opportunity to meld together the different aspects of his work to date, and bring
to a point of culmination his work on coral bleaching. His life-sized work (part of his Dead Sea series)
of a chess table and stools, brings together ceramic traditions of mold-making and hand-building from
his traditional training, his environmental concerns, and his strong desire (that had been unexpressed
in Japan) to create contemporary work of beauty that carries a message. His vision of sea creatures
relates to a sense of the erotic, their forms being, to him, highly evocative of genitalia. Each of the
Left Ken Yonetani, Dead Sea , detail; photo: Ian Hill
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 31

Focus: Architectural Ceramics
Above and opposite page: Ken Yonetani. Dea d Sea , detail; photos: Ian Hill
chess pieces is an interpretation of sexual imagery and mystery and a metaphor for the unconscious.
His understanding of the current societal climate is that it is highly rational and scientific and that we,
as humans, have lost our connection with both our inner selves and our surrounding environment. He
is seeking to create a surrealistic visual language that challenges people's perceptions of the motifs of
origin and their relationship with the environment.
The Dead Sea series culminates in this piece and Yonetani's next journey is a collaborative one with
wife Ju lia and he says that it will be land-based . He may return to ocean-based works in the future, but
feels that he has, at this time, reached a logical conclusion.
Your Move: Australian artists play chess opens at the Bendigo Art Gallery on 30 October 2010
and runs until 30 January 2011 . Yonetani's Dead Sea is one of a collection of works from a
range of Australia's best contemporary artists.
www.kenyonetani.com
www.bendigoartgallery.com.au
32 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

left and opposite page: Kenji Uranishi, Stredm , 2009
Ipswk h Courthouse, level 4 public corridor, four ceramic installations
Photos: Florian Groehn
Moving in and out
Louise Martin-Chew exa mines the recent work of Kenji Uranishi
The best public art becomes a true intervention in a space. While this seems obvious, the ability of
sculpture to change the understanding or experience of the viewer - physically, mentally, conceptually -
is its greatest gift
Kenji Uranishi's focus is on physical and conceptual intervention, and while working as a ceramic
artist in Japan he made many installations. This understanding of working in a larger space assisted his
commission for Ipswich Court House (iCH) artwork. After training in Japan in the mid-'90s, he arrived in
Australia to live in 2004. This ICH commission was awarded in 2007.
The concept for this public building in a city outside Brisbane reflects his interest in his new local
environment and its histories. He describes his idea for Stream as stemming from the impact of a stone
in a body of moving water "The stone will sit on the river bed and create a different flow. It attracts
rocks, detritus and leaves, and over time changes the river's shape. From small things, large things
grow." This concept is an apt one for a regional city beside a river as Ipswich is. There is also reference
to the gathering of people in groups, and the presence of the sculpture itself within the building.
Uranishi's three works, located in public areas of the court house, are constructed in glass boxes,
"windows into part of a stream " . Their impact is cumulative. The largest work is situated in the waiting
area and is a series of circular forms, using cell-like components. They sit on their edges, like wheels, in
varying sizes, visually gathering together - for strength, solidarity, sociability.
The second is in a smaller, glassed-in cube, with a series of free-form slabs standing on their ends.
They are organic, softly curving around each other as though one has shaped the other - it is a building
as forest The third work lies conceptually between the first two, a cell-like structure of rectangles
broken into curved part circles. They lie grouped on top of each other, again alluding to the solidarity of
like objects and the way that, put together, these things become closer in form.
34 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Focus: Architectural Ceramics

Focus: A rchitectural Ce ramics
Above + left: Kenji Uranishi, Infiltrat;on, 2009, 500 porcelain blocks in timber framework, 400 George Street, Brisbane
Photos: Florian Groehn
Water and its importance was also the inspiration for Uranishi's work Infiltration in two key spaces at
400 George Street in Brisbane. The brief for this building alluded to the Brisbane River, its tidal nature,
drainage systems, and its intersection with the indigenous history of the area. The recent scarcity of
water and result ing water restrictions in Brisbane also impacted on the development of the works.
Uranishi's works have been created as 'entrance' statements for this building. The first, seen at the
ent ry, pierces the building, linking with another work adjacent to the reception area, inside the glass
doors.
These works, constructed like porcelain cells within a timber grid, are inspired partly by the historic
use of ceramics in the construction of pipes in Japan. In these works Uranishi combines porcelain with
timber, alluding to the history of Brisbane and the use of hardwood pipes for drainage. The timber is a
grid and operates like a screen allowing sightlines to the rest of the building. Uranishi noted the grid as
conducive to flow, given that this city building sees people come and go at different times and speeds.
"There is a synergy with their movement and the work they are moving past ... Water is a little like
time, flowing in and out, always moving, never the same. The way it flows depends on the elements
that shape its path. Tides are constant reminders of the ebb and flow."
Each of these works intervene, gently drawing attention to the histories of those who have come
before, while at the same time gathering collective memories of the lives which move around them,
with repetitive force. Interestingly, both projects have been recognised in Australian architectural awards,
and the Ipswich Justice Precinct has also been nominated for the International Design Awards in 2010.
louise Martin-Chew is a freelance w riter, art critic and art consultant.
Kenji Uranishi: http://kamenendo.blogspot.com
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 37

Focus : Architectural Ceramics
Mud + Koskela = Licht
Frances Morgan discusses a switched-on collaboration
A collaboration between furniture design company Koskela® and ceramic homeware design outfit
Mud" Australia, has led to the production of two light fittings that have been installed in corporate fit
outs and are selling in the United States and Europe.
The idea for the collaboration came about when Sasha Titchkosky and Russel Koskela, of Koskela,
designed a light shade to soften the harsh glow emitted from energy-saving globes. They approached
Shelley Simpson and James Kirkton from Mud to produce the design, which is called Licht. "We took
the concept to them because we liked the way they deal with ceramics, the vibrancy of their colour and
the finishes they do," says Titchkosky.
For Simpson, who started Mud in 1994, it was an opportunity to venture in a direction she had
always wanted to go. "Lighting for me is something that I've been interested in but never had the time
to properly resolve." Koskela has been producing lighting for over eight years (most recently developing
light fittings with weavers from Elcho Island in Arnhem Land) so had worked out many of the intricacies
around quality componentry and cabling. "Now that we have the joint skills of this partnership j'm
looking forward to bringing other designs to life," says Simpson.
Mud also had a dome shape that they wanted to produce. The dome design had actually started
its life as a rubbish bin when, some years ago, Mud collaborated with a company in the United States
called Waterworks, to produce a bathroom rang e. " I think people felt uncomfortable about placing
porcelain on the floor," says Simpson. However, she liked the design and held onto the idea. When the
collaboration with Koskela came about she revisited the bin design and with some minor adjustments,
flipped it over to form the design for a light shade.
"Licht, like most of Koskela 's wares, has a Scandinavian inspired aesthetic," says Titchkosky. "The
flared outer rim was especially created to allow people to see up into the light."
Both Licht and the dome fitting are made of Limoge porcelain, which Mud uses for all their wares.
Colour is introduced by tinting the porcelain slip slate, canary yellow or white. They are also produced
in spliced combinations of colour - for instance slate on the outside surface and yellow on the inside -
created by repouring the contrasting colour of slip into the mould.
Vitrified porcela in on the outer surface feels like rough parchment, while the inside is glazed so it
reflects the light The plain white light when lit appears translucent and emits a pale orange hue from
the globe.
Collaborating with Koskela felt right to Simpson. Koskela is a similar-sized company also being run
by a husband-and-wife team, and while Mud has made attempts in the past to collaborate with large
companies with little result, working with a similar-sized company with a similar ethos felt more even .
38 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Licht In Koskela's showroom
Licht in production at Mud

Focus: Architectural Ceramics
Top: left to fight, James Kirkton.
Shelley Simpson, Russel Koskela
and Sash. Titchkovsky
Centre: Licht in production at Mud
Bottom: Licht on dISplay
Both companies are committed to producing their wares in Australia. "By doing things locally,
we know that all the people who make our pieces are properly paid and have a decent standard of
living, " says Titchkosky.
"The Licht and dome-shaped light fitting," says Titchkosky,
"are meeting a gap in the marketplace for light fittings that
soften the harsh light of energy-efficient globes."
By collaborating with local companies such as Mud, and
being selective about sourcing materials, Koskela has had
85 per cent of their range independently certified as being
environmentally innovative. Th is allows them to work in the
green building space when undertaking corporate fitouts.
Working with local compan ies and bouncing off ideas around
design, Titchkosky says, has allowed Koskela a lot more
freedom to experiment and be creative. "When you find the
right partners it is a really exciting thing to do and brings energy
and another point of view into the business."
Frances Morgan is a freelance writer with
a long-standing interest in ceramics.
www.mudaustralia.com
www.koskela.com.au
40 THE IOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Tiles and pizza oven designed by Casey Brown Architecture, Sydney; bUIlding construction and tiling by Bellevarde
Constructions Pty ltd. Canberra; ti!es by Marian Marcatil i, 2010
3000 tiles, 1 oven
Marian Marcatili reports on her summer pizza oven tile project
February this year saw me frantically completing over 3000 handmade tiles for delivery to a building
site on the northern beaches of Sydney. The project took close to five months to complete from the
initial negotiations with Casey Brown Architecture to the final delivery to the building site and the
builders, 8ellevarde Constructions, in February 20 10. The tiles were commissioned by the architects'
THE JOURNAL OF AUSTRALIAN cERAMrcs NOVEMBER 2010 4'

Fo cus: Architectural Ceramics
1 Pizza oven prior to tiling 2 Tile-cutting table 3 Glazed tiles in kiln ready for firing
clients to decorate and enhance a large outdoor entertainment construction that would house a pizza
oven, tandoori oven and BBQ. The structure itself is similar to a large bottle kiln.
My part in this project came about by an email enquiry from the architects' representative to the
Inner City Clayworkers Co-operative Gallery in Glebe (of which I was a member) looking for someone
interested in making some handmade tiles. I was mildly interested at first, but it wasn't until I was
contacted directly that my interest developed into utter excitement. After seeing the plans of the
construction and the designs for the tiles, I couldn't help but dive straight in I
Originally, the request was to supply five tile shapes, predominantly in white with orange, yellow
and turquoise highlights. After sending a glaze chart for the client to see the different possibilities, I
received a further request. I was presented with four different tile shapes, large and small, and a variety
of shades of blue, green and brown. The clients required some fired samples prior to commencement
so I produced samples of glazes and testing for compatible clay bodies. To match their specific colour
requirements, I began searching for commercial glazes that would be suitable. This led me to purchase
glazes from Walkers Ceramics, Northcote Pottery and Ceramic Glazes of Australia to complete my colour
palate. I tested various clay bodies from a variety of clay manufacturers with the glazes, sending them
off for approval. The clients settled on Clayworks Midfire Quartz for the majority of the tiles, with some
Clayworks White Handbuilding for one of the glazes. The Midfire Quartz produced a brighter colour
response from the chosen glazes.
Once the quote was accepted I went about purchasing the materials and studio equipment I would
need to make the process cost effective and manageable. I bought a dual-action, bench-top slab roller
from Walker Ceramics and some workbenches with shelving beneath to store the tiles during the
42 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Focus : Architectural Ceram ics
Slab-roller and workbenches
Aluminium tile cutters
making process . The slab roller fitted very well on top of the benches, utilising my already limited studiol
garage space. I estimated I would need about one tonne of Clayworkers clay, 20 litres of Walkers'
Egyptian Blue and 10 lit res each of Walkers' Aquarius Green, Northcotes' Italian Green and Blue, and
CGA Rockingham Brown and Turquoise.
I planned to cut the tiles with shaped cutters made from aluminium flashing, as it was easily bendable
into the various shapes and strong enough to cut through the clay. The shapes were formed around the
tile templates - made 10% larger than original size to allow for shrinkage in the firing - then the ends
were glued together with epoxy and bound by strong tape to keep them in place during adhesion.
The tile-making regime began with rolling the clay to the desired thickness, then raking over to
produce ridges to allow for tile adhesion when fixing. The slab was then taken to a calico covered
worktable and placed with the raked side down. The tiles were then cut and left to dry a little, whilst
the next slab was being prepared. The calico helped draw water from the tiles, drying them enough
to enable handling without too much distortion. Once separated from the slab, the tile surfaces were
smoothed and the edges of the shape defined. Because the ti les would showcase the colourful glazes, I
tried to keep the surfaces as blemish free as possible.
As each tile was finished, it was laid face down on a drying board covered with clean caterers
(butchers) paper, purchased from a local catering supplier. The paper drew water away from the tile
during the pressing process. When the board was full of tiles I then laid two sheets of recycled paper
over the downturned tiles and placed another board on top. The boards were stored for a day or two
this way while I continued making . Next I took previously made tiles outside to complete drying in the
sun, turning them face side up. I found this method worked well with very little warping. When warping
did occur I would place paper and board over the tiles again as it usually indicated that there was still a
measure of water content remaining. This tile-making cycle continued on almost a daily basis until the
tile quota was reached.
Firings posed a new challenge for me. Even though my 8 cu It Cesco kiln managed the bisque
firings, I knew that glaze firing would be a long slow process. I had already pushed the delivery date
back to accommodate this. Luckily I was able to outsource some of the firings to Nepean TAFE, Janette
THE 10URNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 43

Focus: Architectural Ceramics
Tiles and pizza oven designed by Casey Brown Architecture, Sydney; building construction and tiling by Bellevarde
Constructions Pty ltd, Canberra; tiles by Marian Marcatih, 2010
Loughrey, Clayhouse Casula, NSW Pottery Supplies and Hilldav. I am very grateful to all of them! Their
help allowed me to maintain my firing timetable and keep pace with the delivery schedule.
As I prepared for the delivery day, my living room became filled with boxes, foam, wrap, and maize
beans. With the help of a rented van and my hubby, I finally delivered over 3000 handmade tiles to
the site, bringing an end to a very long, hot summer!! The final tally showed that the entire project
consumed 22 firings (bisque and glaze), almost a tonne of clay and more than 600 hours of labour.
At the time of writing, I've received another request for a
further 25 sq metres of handmade tiles. It could be another
long, hot summer. Some things beg to be done differently the
next time around!
For more detailed information on the project:
http://madwomanceramics.blogspot.com
www.caseybrown.com.au; www.bellevarde.com.au
44 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Focus: Architectural Ce ra mics
Simon Reece, Corridor 3, 2008
stoneware, 1260"(
h.llBcm. w.4S.7cm. d.l&m
Photo: Graham McCarter
Standing Stones
Simon Reece brings together lifelong loves and pastimes
In 2008 some new clients approached me via Ian Smith at Falls Gallery in Wentworth Falls. They were
interested in commissioning me to make sculptural pieces similar to ones that Ian and Anne owned,
but they wanted them to be larger and able to be installed in their garden. The largest of the original
Corridors was around 40 cm high; the clients were interested in pieces around 1.2 m high. I had been
considering making larger environmental sculptures for some time and so it seemed an opportunity too
good to pass up. It wasn't until I put down the phone that I realised I had no kiln capable of firing the
work.
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 45

Focu s: Architectural Ceramics
1 Orca, h.128.5cm, w.55.5cm, d.17.5cm 2 Spotty Board, h.120.5cm, w.56cm, d.14cm 3 Stripey Board, h.lllcm,
w.40cm, d.1Scm. All work by Simon Reece, 2010, stoneware, 1260"(; photos: Racheal Samuels
glazed and fired to 1250°C.
I bought a 500 kilogram trolley to move the pieces around and had new gas
lines put in - my plan was to build and dismantle the kiln for each of the five
pieces. And then the question . . coiling or slab) Although the original Corridors
were slab construction, I decided to use a coiling technique which Uneo Norihide,
my teacher in Japan, showed me in 2005. The pieces were enclosed, stand-alone
pieces with holes cut into the bases so that stainless steel rods could be glued in
place on top of a large mass of fairly dry cement mix. The pieces took around two
to three months to make and three months to dry thoroughly. They were then raw
The client had been to the Orkney Islands in Scotland and talked about walking along and seeing
'standing stones' appearing out of the mist. He spoke w ith great enthusiasm about the power he felt
relating to the stones, which were erected for rituals, often in relation to the sun, moon, stars and ley
lines. When the New Corridors were installed they were erected along a grid resembling the Southern
Cross and aligned with the compass.
The discussions about these standing stones in the Orkneys and the installation of the New Corridors
inspired my new body of work which was recently exhibited at Cudgegong Gallery in Gulgong. A
second stream of new work, Crystals was inspired by some Australian basalt crystals I acquired from an
area near Mount Tomah, not far from where I live. I have planted them in my garden as standing stones,
and they bring back memories I had as a boy, looking at images of the Giants Causeway in Ireland,
basalt crystals on a large scale. From an early age I collected rocks, imbuing them with a certain energy,
even romanticism. As happens with childhood memories, some remain as just memories and others
morph into, or are part of, our adult process.
46 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Focus: Architectural Ceram ics
Coleridge and Wordsworth elucidate feelings of awe about the natural world, consciousness
and our relationship to it.
By lakes and sandy shores, beneath the crags
Of anCient mountain, and beneath the clouds
Which image in their bulk both lakes and shores
And mountain crags: so shalt thou see and hear
The lovely shapes and sounds Intelligible
Of that eternal language
Samuel Taylor Coleridge, Frost at Midnight.
1798, lines 55- 60
These romantic notions of the natural world extend
to all things, including inanimate objects.
Simon Reece, Crystal, 2010
stoneware, 1260'(, h.ll 1. 5cm
w.40cm, d.25cm
Photo: Racheal Samuels
... And I have felt
A presence that disturbs me with the JOY
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the liVing air
And the blue sky, and In the mind of man;
A motion and a SPirit that Impels
All thinking things, all obJeds of thought
And rolls through all things .
William Wordsworth, T,ntern Abbey, 1798,
lines 93- 102
Other new work includes Boards, amalgams
of surfboards, ant mounds and standing stones.
They are my own iconography bringing together
lifelong loves and pastimes. I continue t o make
these environmental sculptures and am inspired
by the new scale of the work, I find the fad that
some work translates well to this larger scale and
some doesn't, an intriguing part of the process
of making this new work. I also hope that the
new work can operate as a vehicle, or language,
to elucidate some of the romantic notions I find
difficult to express w ith spoken language.
www.simonreece.com.au
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 47

Technical: Mosa ic
Sophie Verrecchia in her studio
The Artist, the Mosaicist
and the Architect
Sophie Verrecchia shares her passion for painting with tiles
First man built shelters, then houses. Decorating walls with murals followed soon after. From Pompeii's
famous walls to the beautiful water pool designed by Braque at the Maeght Foundation, mosaics have
been chosen by architects to enhance their work.
An architect I have collaborated with, Peter Lonergan (Cracknell Lonergan Architects Pty Ltd), says:
Mosaic work in architecture is one of the greatest public art gestures and also one of the
most persistent. It is rich in colour and texture, can be rich in content and composition, and
is almost always a delight to find. The trick in contemporary architecture is to find a reason,
any reason, to use it and at any scale in any place, and for the artist and architect, a patron
who has the place and the inclination to use it.
Sophie's work is beautiful - it is born out of tradition and experience of the great world of
mosaic works, from the subtlety of Como where mosaic is commonplace to the exuberance
of Gaudi. It is tempered by a design discipline and informed by an understanding of
architecture and the practical realities of architecture and building. Benefiting from practice
and experience, through many years of practice in the trade, Sophie is not daunted by scale,
materials or new ideas. The results are rewarding and the works are a testament to her
vocation.
I have been lucky enough to work in collaboration with several architects and interior designers during
the last few years. Sometimes my work is the centrepiece and we design the room around it, as in the
Northbridge house; at other times my mosaic is a way of decorating an otherwise dull space, giving it a
purpose and a welcoming feeling, as happened in the Bilgola house. I have chosen these two examples
to tell my story.
48 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Technical: Mosaic
Courtyard building site before installation
Courtyard wall installed; photos: artist
The Northbridge House
Living with Garry Bray, an architect, has given me great opportunities to help him with the interior
design and decoration of a few individual house projects, helping him choose colours for external walls,
tiles for the bathrooms, carpets and lights for his clients.
Recently Garry was deSigning a house in Northbridge for a husband and wife. He wanted to make
the smallish formal dining room spill into the outside so that it felt much larger. We decided it needed
a feature wall at the end of the long rectangular space to attract the diners to the exterior, a way to
finalise the space, making it into an inside-outdoor room.
I met the clients, a lovely couple of Italian background, and he seriously didn't want a mosaic 'il
I'ltalienne'. It took me a few meetings of 'show and tell' to persuade him that mosaic can be modern
and contemporary. He seemed to have an epiphany when he saw a tile painting of mine at an
exhibition. "Sophie l Can you do this one for me, but larger?" '" and that was it!
W ith his wife, we designed the courtyard - the surrounding benches for the pillows, the tree beds,
the water trough, the lights and the ledge for the sculpture.
The dining room is used mainly at night and so an indoor-outdoor room was developed with the
space extending to an intimately scaled external courtyard. By working hand-i n-hand with Garry, from
sketches to completion of the idea, my mosaic and the special lighting became an integral part of the
design.
THE 10URNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 49

Technical: Mosaic
-: ...._--- .._. ... --- ,.,
The Bilgola House
This mosaic project started with an etching the client owned, by Indigenous artist Roy O. Kennedy.
The architects were designing a weekend house for the client in Bilgola, north of Sydney. They
suggested we could adapt Kennedy's etching style to a mosaic to decorate the ground of the entrance
courtyard floor. I reworked the print, enlarging it and trying to be respectful of Kennedy's artwork. I had
the honour of having Roy Kennedy come and visit me at the studio. He was at first quite surpri sed by
the sca le, but happily gave us his approval. The architects and I were delighted. Two months later the
mosaic artwork was installed on the outdoor corridor floor, cemented with off white concrete.
About Sophie
While living in France for 30 years, Sophie Verrecchia and her work were shaped by the colours,
textures and rhythms of the Mediterranean region. When she moved to Australia, 15 years ago, the
dry, wide-open spaces and the tropical rainforests added many layers of richness to her image making.
Sophie's influences are drawn from her past working experience as an illustrator, graphic designer and
textile designer. "Often when I'm placing each small piece of glass next to another, I'm reminded of my
embroidery making. It feels right." Her progression from using photos and prints of all kinds to make
collages to substituting ceramics for paper, was natural. These days Sophie finds most of her materials
in op-shops, rubbish tips and recycling centres around the country and overseas. She salvages disused
objects including natural remnants, industrial rejects and second-hand ceramics which inspire her to
reuse in her own original mosaic creations. If she can't find exactly what she wants, Sophie makes her
own ceramic tiles, painting and firing them to complete her design. By blending tiles, ceramics, glass,
pottery and unique 'found' objects, she can produce anything from subtle, delicate hues to bold, rich,
obsessive colourings.
Sophie continues to work in collaboration with architects, interior designers and landscape designers.
www.zebramosaic.com.au
50 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Sophie Verrecchia, Ch ;mney front,
Naremburn. NSW. 2007. 48 shedes of
white tiles. h.1S0cm. w.90cm
Left: Chimney detail
OPPOSIte page:
1 Roy O. Kennedy, Fading Memories,
h.10cm, w.17cm; Kennedy is a WlradJurl
artist whose inspiration was drawn
from his memories of growing up on a
mission in NSW.
2 Sophie Verrecchia. mosaic in the
corridor of the entrance to the terrace
3, 4 and 5 Sophie Verrecch ia, mosaic
details
Photos: Sophie Verrecchia
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 51

Tech nical: Mosaic
Making tiles and working on the panels at the Butter Factory Arts Centre workshop; photo: Jennifer Sadler
The Timber Story
Susie Blue tells about a community coming together
Cooroy is a hinterland town at the northern end of the Sunshine Coast, which was first established
as a timber camp in the early days of European settlement. The town experienced a difficult transition
when the timber mill closed in 2000. Residents campa igned to save the mill buildings from demolition
and the Lower Mill Site has now been developed into a public space showcasing this history Situated
nearby is the Butter Factory Arts Centre, which was the venue for making this work. The new library
was under construction on the site as this community art project was being developed.
Th is Creative Histories project was undertaken by a group of independent seniors from the Noosa
and Cooroy area . My role as project artist was to guide the group and encourage all participants to
contribute ideas. I then developed a design concept based on these ideas and worked w ith the group
throughout the making process. Th is role was shared w ith fellow ceramic artist Mal Butterworth, who
provided practical support w ith making, glazing, firing and installation of the mosaic panels. His good
humour and no-frills attitude were appreciated by all members of the group, and I am indebted to him
for his technical guidance and the learning that resulted.
Creative Histories projects use an enquiry-based approach, an open process which requires mutual
trust and co-operation. The early sessions involved researching local timber history and visiting the site.
52 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Techni ca l: Mosaic
Personal recollections were shared and ideas
were gathered. People took photos, made
sketches and colleded textures by pressing clay
around the site.
The group's main idea was to 'tell the story
of the trees'. Guided by this challeng ing brief,
I developed a series of designs using simple
graphic representations of the trees, tools and
machinery etc. I presented these designs to the
group and modifications were made in response
to their feedback. There was also consultation
with the Lower M ill Site Board and landscape
architect Shaun Walsh.
Panel 1 represents pre-history, w ith rich
undergrowth on a quiet moonlit night. The
tree names are marked, and the curved line
represents cutting down the forest.
Cooroy Mountain features on panel 2,
remembering the timber cutters and pioneering
days. One group member shared a story about
her grandparents who lived on the mountain.
Grandma waited for her husband's signal after
a tree was felled. He would strike his axe three
times to reassure her that the men were safe .
The dragonflies became a motif after another
intrepid group member returned to the site
alone (ignoring security fences) and took some
beautiful photos down by the creek.
Panel 3 shows a graphic representation of the
mill processes, machines and logs, while panel
4 shows a stack of curing timber. Building tools
and techniques and the decorative details of a
typical 'Queens lander' are indicated.
finished panels; photos: Mal Butterworth
THE JOURNAL Of AUSTRALIAN CERAMICS NOVEMBER 2010
S3

Technical: Mosaic
WOlklng on the panels at the Butter Faaory Ans Centre workshop; photo: Jennifer Sadler
The Making Process
This approach to mosaic is entirely different to the style of mosaic where small tesserae are used to
build up the design. Cutting the design into soft clay has great appeal as a contrast to working with
hammers and tile nippers. I enjoy both techniques and they can be combined to great effect. Careful
consideration must be given to break up the design into workable segments. This influences the design
itself. Shrinkage of the clay during drying and firing automatically creates grout spaces. We also allowed
for 10% shrinkage. Backing boards were not cut until all tiles had been fired.
The full size design was drawn up onto clear plastic with a permanent marker, using metho to wipe
off any mistakes. Clay was rolled to about 1 cm and left to rest before cutting. Working with 'soft
leather hard' clay gave the best results. The design was transferred through the plastic by scribing with a
pencil or ballpoint pen . Tiles were cut out and numbered to match the design - this was very important
because the tiles are handled and moved many times, especially in a group situation!
Tiles can be textured, incised and stamped using natural and man-made materials. In this project
an old farm fencepost was used to create tree textures. One group member supplied a remnant of
her wedding dress lace to texture the mountain. (This created a beautiful link to the grandma story.)
Relief areas were built up in some places. The tiles were dried very slowly between boards to eliminate
warping.
Walkers BRS (Buff Raku with Sand) was used for this project, with white earthenware decorating slip
applied to some areas. Text elements were hand painted onto individual tiles using black underglaze.
Tiles were bisque-fired to 1000°C. Oxide washes were used in various combinations to produce an
earthy palette of colours and Deco underglaze colours were also used in some areas. Mal made a
'mystery' metallic glaze for the saw blades and axe head. A brush-on clear mid-fire glaze was then
applied and all tiles were fired to 1200°C.
Backing boards were cut from 6 mm compressed fibre cement sheeting sealed on both sides with
S4 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Technical: Mosaic
Above: Tiles wIth slip, laid out after bIsque ftnng
l eft: Participants sticking tiles onto the boards
Photos: Jennifer Sadler
Bondcrete. (it is worth noting marine grade ply can also be used for smaller projects that are not out in
the weather too much.) The tiles were stuck down using Davco waterproof outdoor tile adhesive. Some
areas were filled w ith glass tiles, mirror and crockery. The final step was to grout the mosaic, using a
Davco product. Then we had a party!
Because library construction was in progress and the site was still being developed, there was a delay
before the mosaics were installed. Display panels were constructed from aged railway sleepers found on
site, and these were individually rebated to accommodate the mosaic.
The Timber Story Project ran from October 2008 to July 2009 and the mosaics were installed in the
forecourt of the Lower Mill Site precinct in November 2009. The Mill Place Library was finally opened in
June 20 10 - the completion of a long-held dream for the people of Cooroy.
This work provides a symbolic visual interpretation of the local timber history. The va lue of this project
lies not only in the mosaic itself, but also in the interactions and social connections that developed
during the process. I would like to restate my thanks to everyone involved in this wonderful creative
journey.
Project artists: Susie Blue and Mal Butterworth
Assistant artist: Kathy Gould
Landscape architect: Shaun Walsh
Participants: Nicky Alletag, Joy Anderson, Lorraine Bird, Pat Bliss, Rita Carter, Noela Chandler, Robyn
Cole, Helen Colston, Philippa Grayburn, Jo McClements, Moriarty, Eve Punchard, Jennifer Sadler, Jo
Smith, Betty and Ron Sutton, Beverley Watkins and Naomi West.
This project was supported and funded by Noosa Day Respite Centre. Sunshine Coast Regional
Council and the Butter Factory Arts Centre.
THE IOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 55

Techn ical: Mosaic
The Shyness of Trees
Dominic Johns writes about an arts residency in Penang Malaysia
Working in regional Queensland, I spend countless hours alone in my studio constructing mosaics; but
I am lucky to have taken part in many residencies, some in schools close to Cairns, others in galleries
and community arts centres around Cape York and the Torres Strait. Residencies are my chance to get
out of the studio, providing me with human contact and a chance to demonstrate to others.
My recent residency at Hotel Penaga in Georgetown, Penang, was different, as it was about coming
together with three peers - Helen Bodycomb and Glenn Romanis (both from Victoria) and George
Fishman (from Miami, USA) - and working for a month together to create a piece of work for patrons
Hijjas and Angela Kasturi.
Fellow artist Helen Bodycomb and I co-wrote Adhesive Techniques for a Range of Applications
and Climatic Conditions, in which we sought to present a cohesive universal language of mosaic
adhesive techniques, accounting for the huge variations involved in the construction of mosaic
worldwide. Helen thought it would be great if we could organise a project that brought together several
key artists to experience these differences while working towards a common understanding from which
we could further develop the dialogues that exist within the mosaic world.
In 2006, Helen was a resident of Rimbun Dahan, the home of patrons Hijjas Kasturi (architect) and his
wife Angela, in Selangor outside Kuala Lumpar. After extensive consultations they agreed to host the
four of us in Georgetown at their new boutique hotel, Hotel Penaga .
As a lead-in to the residency, we took part in Art for Nature, the annual WWF exhibition hosted by
Angela and Hijjas at Rimbun Dahan. In April 2009, Helen and Glenn travelled with Angela and Hijjas
to the hotel construction site, also researching suppliers, tool availability and cultural sensibilities. A
photograph in the WWF exhibition by Erna Dyanty, The Crown Shyness Effect, caught the attention
of Helen and Glenn and helped to form the basis of our conceptual development for the artwork. I was
reminded of William Robinson's Revelation of Landscape 1992. It was initially proposed that we would
create a "river" (or pavement) of foliage and light using glass set within salvaged granite ballast blocks
linking the courtyards of the buildings which formed the hotel complex. However, before we left for
Penang, our original idea of the pavement changed to creating the work on a wall.
Our group arrived at Hotel Penaga in late March 2010. Celebratory gin and tonics and wonderful
Perakanan cuisine were the order of the day as we settled into the humid tropical heat. It was an
exciting feeling to be together after more than two years of preparation. The work began with a
review of the materials that had been delivered and the various tools we had brought with us. We
had two huge crates of architectural stone samples, about a tonne of coloured glass shards, several
kilos of Mexican smalti, and adhesive. The stone samples were exquisite, aliI 00 x 100 mm and various
thicknesses. Site carpenters made our worktable, benches and some knapping stands. As no one was in
charge of our strong-minded group, exhaustive debates followed as the concept was slowly resolved . It
was a relief when Angela arrived and listened to our proposal before remarking, "I'm sure whatever you
make will be good." It was her wish, she said, for them to provide us with the opportunity to create a
piece of work together.
s6 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Technical: Mosaic
1 Construction site at the Penaga Hotel
2 left to right: Dominic Johns, Hijjas Kasturi. Muy, George Fishman,
Helen Bodycomb and Glenn Romanis
3 Detail of work showing stone. coins and prismatic lines; also shows
shrinkage cracking in negative space which alludes to the crown shyness
in miniature
4 Hammer and hardie. the tools of choice for the whole project
5 Installation in progress
6 The 'lay' style
Photos 1 and 5: Glenn Romanis; photos 2.3,4 and 6: Dominic Johns
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 57

Penaga Leaf showing detail of smaller granite leaves
Photo: Glenn Romanis
left to right: Angela Kasturi. Helen Bodycomb, Glenn
Romanis, Hijjas Kasturi and Dominic Johns on the last day
of work; photo: Dominic Johns
Concept as written by George Fishman
The Shyness of Trees refers to a phenomenon of the rainforest canopy in which abrasion of the
growing tips of individual trees (and possibly the actions of insects) "prune" the trees and prevent
hostile interaction among neighbouring trees. This action causes a visual effect in which an observer
looking up in the forest may see 'rivers' of light streaming through those gaps separating the trees. It
was this negative space the artists incorporated in their composition. Also included in the composition is
an illusory portal that reflects the actual door at the opposite end of the passageway and suggests travel
through place and time, discovery and awakening.
The blue and white discs scattered throughout the composition are the decorative centres of Chinese
bowls, salvaged from a 17th century shipwreck off Vietnam. They also represent the coins purportedly
shot into the forest by British Captain Francis Light at the beginning of Penang's colonial period to
encourage Malay residents to clear the land. Additionally, an array of narrow chromatic gradient strips
in a vivid palette of glass suggests prismatic light effects within the moist air of the rainforest. Both
elements reflect the geometry and colou r of the large stained glass roundels on the flanking wall, part
of the architectural design scheme provided to the artists. The wall mosaic spills onto the archway, side
walls and ceiling engaging the surrounding architecture.
Activating the long granite pavement of the passageway, a meandering course of engraved lines
conjures the Penaga River, now lost to development. It connects the wall and floor elements, creating
an ambiguous continuity, as the 'water' becomes 'air' and 'light' when it encounters the wall. The floor
also contains a large mosaic Penaga leaf insert, made up of smaller stone leaflets. The Penaga tree,
once prevalent, was said to have stained the river red. It is now quite rare in George Town, but has been
included in the owners' landscaping plan.
We made the work using the direct on mesh method, which involves glueing the mosaic material
onto a fibreglass mesh. Under the mesh is a clear plastic sheet that protects the cartoon (design)
underneath. We used a two-part cementitious adhesive (made by Mapei), which consisted of Kerabond
Plus (cement adhesive) mixed with Isolastic (latex liquid). The cartoon was divided into several large
s8 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Technical: Mosaic
The Shyness of Trees project complete
Photo: George FIShman
pieces, which were small enough to fit
our working platform. We made a section,
cut it off, put it aside for curing, and then
continued on to the next panel. working
from the bottom upwards. The flexibility
of the adhesive system enables a fair bit
of manipulation of the panels without the
adhered pieces falling off. This technique,
derived from Spilimbergo in Italy, enables
mosaicists to construct 'fabrics' (or 'skins')
in a controlled comfortable environment
away from the hazards of a busy worksite.
It is crucial that the panels have registration
points for lining up the panels when
installation finally takes place. Once all the
panels were adhered, adhesive was piped
into the negative spaces and patted down
with a damp sponge to achieve a smooth
finish. Several smaller extensions of the
work were then applied over the adjacent
walls and ceiling thus preventing a purely
flat two dimensional appearance. The floor
work was done mainly by Glenn Romanis,
because he loves his grinder and is only
really happy when he is tired, dusty and
dirty.
We all had moments when we questioned what we had made. The final verdict was that it was a
subtle work, organic in nature, sitting well within the built environment, and it contained a relevant
message that will become more important as time goes on.
As I ponder the experience back in my studio, I find that I have a renewed vigour in my approach to
my work, disregarding the 'slings and arrows' of the GFC and eagerly anticipating my next residency in
another far-off location.
Thanks to Angela and Hijjas Kasturi. They were wonderful hosts.
www.shardworks.com
www.hbmosaics.com
www.glennromanis.com
www.georgefishmanmosaics.com
www.rimbundahan.org
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 59

View
A Panoply of Glowing Colours
Inga Walton introduces works by Kasumi Ueba
The decision to make the biennial Melbourne Art Fair an annual event from 2009 was abruptly
reversed due to reverberations from the Global Financial Crisis. In stark contrast to the previous Fair
in 2008, where a plethora of ceramics was on show', the twelfth instalment barely rated in that area,
although it was hailed as an overall success.
Thus it was a delight to have the opportunity to view the first substantial collection (of nearly thirty
works) by the impressive young Japanese artist Kasumi Ueba to be exhibited internationally. In her
homeland, Ueba is recognised as one of the most accomplished ceramicists of her generation, She has
held more than twenty solo exhibitions nationally since completing the last of her formal qualifications
in 2003. " I was honoured to participate in the Melbourne Art Fair. It was a good experience for me to
visit so many galleries' stands, and the building itself was really impressive," Ueba remarks. "I saw a
lot of paintings and sculpture, but thought there were not many ceramic works. I felt that my ceramic
works were appreciated like sculpture. My works were expressive of the Japanese taste, so maybe they
looked very fresh to an Australian audience."
Ueba comes from an artistically orientated family, which has been the foundation for many aspects
of her practice. "Since I was a child, I grew up surrounded by traditional design patterns and traditional
culture. Maybe that is why I feel these traditional [aspects] are suitable within my work," she explains.
"My Grandfather was a kimono designer/painter and both my parents studied dyeing at Kyoto College
of Art. So, I was dreaming of being a kimono designer and I entered the craft section at Kyoto UniverSity
of Art & Design. There, I was more interested in ceramics where I could make the form by myself, rather
than dyeing ... I was much involved in making forms and did not care about surface decoration. After
graduating, I found myself interested in decoration, so I entered a school of ceramic indust ry ... there I
studied over-glaze painting and design patterns."
And what radiant and diverse patterns they are; Ueba's vessels are defined by vivid swirling
compositions and her technical proficiency with colour, "I prefer gaudy things rather than simple things,
and I am tempted to mix up all the things I am interested in at the moment," she reveals. "I love
fashion, but I am not interested in the 'cutting edge' ". the costumes of opera, Kabuki and different
types of masks appeal to me a lot." Ueba's intensely detailed vessels echo important aspects of Japanese
aesthetic culture such as sougara (kimonos with patterns throughout the fabric), lacquer-ware decorated
with Makie technique, and paintings on gold leaf background. Such decorative objects, widely admired
and collected overseas, are combined with references to textile patterns, Japanese fairy tales she read as
a child, and impressions of everyday life.
Using both porcelain and stoneware clay, the works are usually hand-built then shaved to achieve
the ideal form. After a reduction glaze firing (in which she uses a transparent glaze), Ueba draws
outlines with silver, platinum and gold liquid lustre, then paints on-glaze enamels onto the surface as
the final decoration. Her pieces are fired in an electric kiln, usually three times - bisque (850°C), glaze
60 THE IOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

View
Kasumi Ueba, Big Chimera, 2010
porcelain with glaze, h.93cm, w.l OScm,
d.8Ocm; photo: Andrew Noble
THE IOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 6,

View
(1230-S0°C), and lustre (780°C). Ueba's major work at the Fair, Big Chimera (2010), took over a
month to complete, and explores the challenging dichotomy posed by such a large object replete with
smaller panels of dense embellishment. "The most difficult part of making works is at what point I
cease decoration; it is an emotive situation for me, and sometimes I am conflicted ... when I think it is
not right, afterwards I [must] redo it from the start, or fire again and redecorate it," Ueba admits.
In a country with such a profound historical tradition of ceramic practice, Ueba now finds herself
addressing the more 'Western' tension between perceptions of 'art' and 'craft', and how to pOSition
her work within that wider discourse. " I do not wish to stay in the 'ceramic' category, and would like
my work to progress to a position beyond the categories of 'ceramic', or even 'art'. I hope my work will
appeal to, or be noticed by, people who are not even interested in 'art' per se," she contends. If the
response to her work in Melbourne was any indication, Ueba is certainly on her way to defining her
own place in the international art scene.
We are all grateful to Andrew Noble for his perseverance and generosity photographing the work in
situ. Noble Imaging, Collingwood: andrew@nobleimaging.com.au
With thanks to Emily Yamaki for artist liaison and Japanese/English translation.
Kasumi Ueba is represented by Yamaki Art Gallery, Osaka www.h2.dion.ne.jp/-yamakig
Gallery Utsuwa-kan, Kyoto; www.g-utsuwakan.com
Gion Konishi Gallery, Kyoto; www.gionkonishi.com
Savoir Vivre, Tokyo; www.savoir-vivre.co.jp
Gallery Kenbishi, Nagoya; www.gallerykenbishi.com
Inga Walton is a writer and arts consultant based in Melbourne who contributes to numerous
Australian and international publications.
See Inga Walton's previous article, 'The Melbourne Art fair - A Survey of Ceramics',
The Journal of Australian Ceramics, 47/3, November 2008; pages18-23.
1 4-8 August, 2010; Royal Exhibition Building. Carlton, VictOfia; www.artfalr.com.au

View
All work by Kasumi Ueba
1 Chimera - Flowing Water. 2009
glazed porcelain, h.4Ocm, w.63cm,
d.2Scm
2 Chimera - Peach Leaves, 2009
glazed porcelaIn, h. 19cm, w.12cm,
d.27.5cm
3 Chimera - No. 8, 2010, white
earthenware. h.40cm, w.63cm. d.2Scm
Opposite page:
Left: Owl Cup , 2010, glazed porcelain,
h.12.Scm, w.9cm, d.S.Scm
fight: Dragon Bowl, 2010, white
earthenware, h.13cm. w.B .B

View
A Journey Beyond the Literal
Troy Douglas reviews Vipoo Srivilasa's recent collection shown in Sydney
Visual images always denote something, based on the material subject they represent. But it's the
connotation, or what an audience might perceive in relation to an artist's intended meaning, that gives
the work enduring power. Ceramic art can encase even greater intricacies through fine beauty, detail
and undertones working on the senses concurrently. A selection of Vipoo Srivilasa's growing portfoliO,
exhibited at Sydney's Depot Gallery in June, reflects this sentiment.
The Thai-born Australian artist has mastered his craft through intense training in both countries, yet it
is the subtle message beneath the surface of stark colour and exquisite porcelain that commands most
attention.
Of the diverse pieces, which date back to 2006, many feature vivid colours, using a glaze-on-glaze,
technique honed during Vipoo's residency at the Thai celadon factory in Chiang Mai; others employ blue
and white technique. All have a thematic purpose which conjoins to reveal the character and values of
the artist at various life stages. The sculptures are a conduit, resonating a desire to convey a cultural
interchange between Thailand and Australia, and a concern for global environmental degradation.
This is emphasised firstly in the blue and white pieces from his Indigo Kingdom (2009) series. Each
uses pigment on porcelain, with Protector of the West symbolising Buddhist influences, and the two
bowl-like ponds highlighting destruction of the marine environment. A carefully decorated exterior lures
the eye into the contents of the
pond: a base layer of fragile coral and
a mermaid with her gaze fixed on the
viewer. Bleached white, one may be
overcome with a self-consciousness,
which serves to confront us about
our role in this escalating calamity.
Also displayed were two tiger
teapot pieces, made for a recent
'Year of the Tiger' inspired
international teapot exhibition in
Shanghai. The delicately handpainted
action-man ceramics are
manipulated into poses resembling
teapots and culturally blended. The
figures adopt a pose Vipoo observed
in Australia and are marked with
Thai imprints - a tiger tattoo often
used as a symbol of good luck, and a
charm in Thai text.
Vipoo Srivilasa, Tiger Teapots, 2010
ceramic, hand-painted, cobalt pigment
64 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

All work by Vipoo Srivilasa
Above: Pond of Prosperity, 2009, cobalt
pigment on porcelain
Above right: Pond of Prosperity (interior)
Right: Protector of the West, 2009, cobalt
pigment on porcelain
Photos: Andrew Bareham
View

View
Vipoo Srivilasa, Scarecrow, Wizard of OZ Series (front and back), 2010, ceramic, multi-fired glazes; photos: Andrew Bareham
Vipoo's style of ceramic art is flamboyant and alluring, with distinct and extravagant forms usually
brandishing a contemporary iconic flavour. Perhaps then, the most fascinating element of this exhibition
is the three new pieces he specifically created for the show - reinterpreted characters from The Wizard
of Oz. The sculptured Tin Man, Scarecrow and Lion are an explosion of colour; layered and multireferential,
these creatures can seem a little confusing and cluttered, but they are insightfully thoughtprovoking.
The complexity of ensuring a positive carbon footprint is graphically depicted through the Tin Man;
an environmental heart counterbalanced by a mask, worn to breathe the toxic smoke his own body
emits. This paradox fascinates Vipoo but instead of preaching, he shares recognition of the struggle we
face from competing societal temptations. "Similar to my life, I want to be an environmentally friendly
person but I still drive my car to work, buy work that is produced overseas and consume a lot more than
I should."
The Scarecrow is reinvented and infused with a startling array of gadgets and add-ons, a metaphor
for our fixation with modern technology. An iPod drapes from its neck shadowed by an attractive willow
pattern, and four sonic speakers extend from the body. This reflection on an environmentally harmful
obsession is again juxtaposed with the internal conflict involved in changing our habits. A solar panel on
the scarecrow's back might generate green power but it still fuels our consumption addiction.
If Vipoo's work suffers in any aspect, it may be its relative obscurity and heavy intermixing of cultural,
personal and symbolic references. He ambitiously strives for the best of both worlds - a serious and
66 THE 10URNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

View
Vipoo Srivilasa Left: Lion. Wizard of Oz Series, 2010, ceramic, multi-fired glazes
Right: Tin M an, Wizard of Oz Series. 2010, ceramiC, multi-fired glazes; photos: Andrew Bareham
light-hearted approach. The oddness of his figures and his choices of adaptations, as in the Wizard
of Oz charaders, most certainly enthral, but the surface appearances can, for some, overpower or
detract from the deeper purpose and significance. Giving the scarecrow a super-brain inspired by his
favourite TV show Dr Who, is one example of this packing-in of personal idiosyncrasies amidst broader
undertones.
Still, f or capturing some themes relevant to earlier stages of his life, the loudness of the art is what
achieves the clarity. Vipoo aptly draws a parallel between the braveness desired by the lion and the
often courageous decision to declare homosexuality. Lion shouts openly to announce coming out of the
closet, with huge signs on his hands broadcasting it in a mardi gras-like fashion .
While the ceramic pieces aim to be provocative, they also project a strong sense of humour and
fun to appeal to a wide audience across cultural boundaries. "The fun element is more from my own
personality and my attitude to life," says Vipoo. "I also find that I am bombarded with a lot of serious
issues around the world so I want to make work that makes people happy and feel good when they
experience it"
Ultimately, it's rare for imagery to connote a singular or uniform message. This artwork succeeds in
instilling a lasting impression, much like the environmental concerns it references.
www.vipoo.com
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 67

Workshop
Jill Klopfer. bowl
Making the Most
of Your Mud Shots
Vicki Grima, editor, gives a few guidelines for photographing your ceramic work
Do you take your work seriously enough to record it in a professional way? New digital cameras
give artists accessibility. versatility and fast access to the online world. Competitions, award and grant
applications, websites and blogs and the creation of an archival record of your work are now within
easy reach . But, a bad photo of good work is as useless as a good photo of bad work. As editor of this
journal I am sometimes disappointed by images of ceramic works received with article submissions.
Often the articles cannot be considered for publication because of the poor quality of the accompanying
images. Common problems are blurry, out-of-focus images, poorly chosen backgrounds (bright colours,
patterned andlor textured cloth), badly or tightly cropped images, low resolution digital files, badly
composed images and objects shot in poor light conditions (no tonal contrast or harsh shadows).
Regardless of whether or not you plan to submit images to magazines for publication, to have a good
record of your work is valuable for later reference or for archival purposes. It's a good idea to keep a
portfolio of your work, as it's always interesting to look back and see how your work has developed.
In early September in a wonderful light-filled studio in Zetland, a group of ten participants gathered
to enjoy "The Art of Photographing Ceramics" with Caterina Pacialeo. Cat is a Sydney-based artist with
a Master of Art in Photomedia, who loves sharing her knowledge about photography and how to make
the best use of a camera. The aim of the workshop, run by The Australian Ceramics Association, was for
participants to produce images of their ceramic work, whilst learning about their camera, basic lighting
and image composition.
While one day was not enough to cover this topic in depth, our attention was drawn to a few factors,
which helped us to improve our skills and obtain some reasonable images as a result.
68 THE 10URNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Works hop
....- ......-----""- The An of Photographing Ceramics
workshop with Caterina Pacialeo
September 2010
Listed below are some guidelines gathered on the day, along with a few I've collected over the years.
1. When using a digital camera always ensure it is on the highest image size setting, and that you
keep the original image in this large format. You can then make copies of various sizes for
different uses such as print and web/email. Save your digital files as jpegs w ith 'your name_title of
work_year', e.g. vickigrima_cloud_chaser _2010.
2. Keep the background Simple! Avoid setting your work against busy backgrounds such as wrinkled,
patterned or brightly coloured fabric or paper. White, grey, black and earth tones make a good
neutral background. Try using a roll of white or grey paper (Reverse Garbage is a recommended
source). For many years I have used a heavy sheet of architectural tracing paper.
3. The best lighting is usually available in a well-lit spot near a big window on a cloudy day. Avoid
bright sunlight as strong shadows are distracting. Do not use artificial lighting if it casts hard
shadows or harsh reflective highlights. Work hidden by very dark shadows should be avoided. We
used white sheets of cardboard (held just out of sight) as reflectors to assist with edge definition
and to give detail to dark shadowed parts of the object.
4. Glossy pots are notoriously tricky to photograph. One solution is a collapsible light box. They
come with a detachable front panel with which has a slit through which you can insert the
camera. They also come with fabric backdrops but it was suggested that coloured or white
cardboard was a good alternative. Position lights outside both sides of the light box or tent to
flood and diffuse light evenly on the inside of the enclosure. The light box will diffuse sunlight too,
if you choose to work outdoors w ith the sun . Light boxes are typically under $100 and it's
common to see them offered on eBay, Amazon and other online sites such as www.vanbar.com.au.
5. Turn off your flash. Learn to use the 'fstop', 'shutter speed' and '150 settings' on your camera.
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 69

Workshop
f/
-... --~,*,
Far left:
Cath O'Gorman
two dishes
left:
Jo Wood, bowl
6. Use a tripod to hold the camera steady, ideally one that can be adjusted so you can position the
camera at the right height for the shot.
7. Try photographing your work from many different angles. If you want to show 'volume' in a
container, raise the angle to see inside the pot just a little. If you are too 'square-on' the object can
appear flat.
8. Leave a generous space around the object. Tight cropping is undesirable and a graphic designer's
nightmare. I have several instances of artists missing out on the cover of the magazine due tight
cropping. You never know when you may need that background.
9. Take lots of shots. varying the light source, background and angles and delete the worst. This is
the beauty of digital photography: after you purchase the camera, the photographs are free
(no more costly film).
10. A good image is in focus, with proper exposure, a full depth of field and a full range of contrast
(light to dark tones).
11 . Label the best images with name and date.
12. Record your work at home/studio before it goes on exhibition or sale.
13. Go to a course and learn to use your camera correctly (this shou ld be point 1).
Organisations which run workshops:
NSW: Australian Centre for Photography; www.acp.org.au
VIC: Centre for Contemporary Photography; www.ccp .org .au
Photographic supplies and equipment
Sydney: Nikon on Broadway; www.nikononbroadway.com .au
Sydney. Melbourne: Van bar; www.vanbar.com.au
Sydney. Melbourne. Brisbane:
Digital Camera Warehouse; www.digitalcamerawarehouse.com .au
Sydney, Brisbane: Discount Digital Photographics; www.d-d-photographics.com.au
Photographic Equipment Rentals: www.sunstudiosaustralia.com
Photographic labs for printing for film and digital
Sydney: www.pixelperfect.com .au
Sydney: www.visionimagelab.com.au
Platinum Imaging, 54 Oxford Street, Paddington
Collapsible light box with lights: www.vanbar.com .au
www.caterinapacialeo.com
70 THE IOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Workshop
Photo: courtesy Dominic Johns
A Look at Adhesive Systems
Some advice from Dominic Johns
There are many different types of adhesives available, so it is very important to consider all factors
BEFORE starting your mosaic.
Craft glues may be suitable for small-scale indoor applications, including classroom teaching. As PVA
is a water-soluble glue it is generally unsuited to use outdoors, where cement-adhesives are preferred.
Cement adhesives, mixed with water, are commonly used by mosaicists when working on concrete
substrates, as they are usually inexpensive, durable and easy to use.
Cement adhesives, with rubberized fillers and powdered polymers mixed w ith water, enable a higher
degree of substrate and material movement. They are vulnerable to excessive heat and prolonged
exposure to water and so are not recommended for external applications.
Cement adhesives, mixed with acrylic and latex polymers, accommodate the highest degree of
substrate and material movement and are the most highly recommended adhesives for use in outdoor
mosaic installations, including water immersion.
Latex, used as a tile adhesive additive, is an emulsion of plastic polymers dispersed in water. It is used
as an additive with portland cement mortars to enhance bond strength, water and chemical resistance.
2-Part flexible adhesives offer a complete installation system consisting of 2 parts, liquid and
powder; both contain flexural and elasticizing agents, allowing for the highest range of movement on
problematic substrates.
Epoxy adhesives are heat-setting resins that form t ight cross-linked polymer structures. They are
characterized by toughness, strong adhesion, and low shrinkage. Epoxy adhesive for mosaic is a
THE JOURNAL OF AUSTRALIAN CERAMI CS NOVEMBER 2010 71

Wo rkshop
Photo: courtesy
Dominic Johns
two-part resin that, together with fillers, can
also be used as grout. Epoxy grout is useful
in areas that are subject to frequent cleaning
with chemical and mechanical means (ie water
features, pools and commercial kitchens). Epoxy
adhesives are most suitable for use in mosaic
where metallic tesserae or metallic substrates
are used.
The glass tile industry has historically
discouraged the use of epoxy materials because
they tend to be very inflexible, making the
entire installation rigid and prone to cracking.
This is particularly undesirable when used
with tesserae that are vulnerable to thermal
movement. There can be safety and installation
problems as they have a tendency to be very
sticky, difficult to clean, they have a very strong
odour and they emit toxic fumes.
Case Study: Installing a mosaic on a Brick Wall
Quite often I see community mosaic projects that quickly deteriorate once adhered to a surface, which
is very disappointing after much time and effort is spent.
1. Identify environmental factors that will affect the work such as climatic extremes, indoor/outdoor,
exposure to water and sunlight. Consider whether the mosaic is permanent or re-Iocatable.
2. Choose the right tesserae (mosaic material) for the visual effect and durability to suit conditions ego
it may not be suitable to use glass that is permanently exposed to extremes of sunlight as the
surface can become scalding hot and expansion may dislodge the work.
3. Consider the wall (substrate) for stability and cracking. Brick joins will need to be rendered smooth
with a cement mortar/adhesive . The surface may require priming to ensure good adhesion, or a
waterproof membrane may need to be applied. Once these factors have been worked out, you
should be able to identify the best adhesive.
4. If using the direct construction method (ceramic glued directly onto the surface) then most cementbased
adhesives will be suitable. In extreme weather conditions, it is advisable to use a polymer
modified adhesive to improve strength.
5. If using glass, then a flexible 2-part adhesive shou ld be used to allow for expansion and a good
bond. Most 2-part adhesives w ill be adequate for all types of tesserae. If mosaics are constructed
off-site and adhered to mesh in panels (the indirect method), it is important that a high grade
flexible 2-part adhesive is used in both adhering tesserae to the mesh and again when adhering the
mesh to the chosen surface. There are many different brands available and I would recommend
talking to a professional to obtain a proven adhesive system.
Reference: Mosaic Adhesive Techniques: for a range of applications and climatic conditions
by Dominic Johns and Helen Bodycomb, 2009; available from www. www.shardworks.com;
525 + P&H
72 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Process and Meaning
Keven francis during firing process, 2009; photo: courtesy artist
Working the Pit
Keven Francis discusses process and meaning
Risk, flames. smoke, sparks and spontaneity are the elements that excite and drive an obsession with
the transformational power of fire and its influence on our physical and emotional perception.
An immersion in the process of working the pit over several decades has enabled me to come to a
strong conceptual framework based on the theme of transition. This theme is a common intent in my
art practice across ceramics, painting and sculpture.
I have become focused on a threshold or divide between states expressed as the strong hard edge
produced by the fire's carbonisation of ceramic and timber. This sharp dividing line is integral to my work
as it denotes a link between one existence, or experience, and another. This link can also be considered
as a separate emotional and physical st ate in the space between before and after. such as the flux
created by the burning fire-pit.
My selection of palm-sized pinch pots as a medium of expression was driven by their potential to
carry personal sensitivity and tactility of the artists' hand, and their robustness when confronted with
movement during the firing process and radical temperature changes.
My current ceramic work involves making hundreds of small burnished pinch pots that are pit-fired in
groups of about 30 and installed as collectives of over 200 pieces. They are placed on thick clear glass
which is raised about 1 cm off a paper base, providing tension between the weight of the pots and a
sense of being suspended. In some installations, small pieces of charcoal are placed on the paper to
increase the perception of elevation and as a direct reference to the pit-firing.
Creating the palm-size pots is an obsessive process, with each piece gently moulded. then burnished,
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 73

Process and Meaning
leaving faint ripples around the surface, accentuating its tactility. Once burnished. the pots go through a
sintering process to around 700°C, maximising their strength and providing some resistance against the
firing process.
Building the pit is an inventive process. I have dug small holes in the back yard and have also used
out-of-the-ground boxes, including the firebox of a medium-size wood kiln. The critical aspect to
selecting and building a pit is the need to ensure the ability to control its atmosphere whilst the fire is
raging.
The pit firings are swift and intense with a strong element of risk and spontaneity. The process
takes 45 minutes from stacking to withdrawing the pots, and involves reaching into the flames to
selectively burn out embedded carbon from the ceramic pieces. An intrigue that has grown for me is the
immediacy and frenetic pace of the surging fires that eventually gives way to a stillness and reflective
vision of pots sitting calmly within the fire 's embers.
The process of firing commences by stacking layers of hard and soft wood over pots that are sitting
in sawdust. Once the sawdust is ignited, the struggle begins to control the rate of temperature increase:
continuous interaction and an intuitive eye are required as the different timbers burn at various rates
and temperatures. During the process the pit cover is raised and lowered to control the intensity of the
fire and the pit atmosphere. Protective clothing and respiratory equipment is essential as the atmosphere
around the fire is thick with smoke and the flames have the propensity to surge.
At the point when all the timber has fully ignited, the flames have reduced and the pots are
sufficiently infused with carbon, burning hardwood is la id across the pots to selectively remove carbon
Keven Francis, Between, 2010. pit-fired pinch pots on Starphire glass; photo: artist

Process and Meaning
''I
I
I,
",
, ,
-
,
.'
,~ '.
left: Pinch pots during the firing process right· Keven Francis, Impressions Three, 2009, scorching and charcoal on paper,
hAOcm, w.30.Scm, photos; Keven Francis
and reveal a sharp separation between dark and clear ceramic. The burning hardwood is cut in straight
pieces and so burns out straight lines across the pit. Consequently the pots are all marked with straight
lines, but when they're removed and stacked, the perception is altered as these lines become curved .
As the end of the firing approaches, pieces that are identified as complete are removed to cool at
ambient temperature and await a light wash to remove any ash .
Looking for a way to extend my engagement with the pit firings, I began using freshly withdrawn
pots. timber and charcoal to create scorched paper works. This produces indexical marks that echo the
firing event and relay the quiet residue of its intensity. The fine spontaneous charcoal marks sit on the
paper whilst laying flat and then appear to float when the work is hung.
The contrast between the high energy of working in the fire pit and the meditative process of
burnishing hundreds of small pots il lustrates my approach to my art practice and the contradictions I
seek to instill in my work.
The stacked pots are still, but invoke suspension when installed as a collective or stand alone quietly
as a separate art piece, and the scorched works on paper relay a sense of the heat of the fire and the
stillness on observing calm embers.
Keven Francis' exhibition Transition: The Space Between was held at Watson Art Centre, ACT
in May 2010.
THE IOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 75

Bali loves Dragons!
Sue Buckle shares a very special teaching experience in Bali
My time in Bali in August 2010 was a chance to immerse myself in the
saturated colours of the landscape and the culture of Balinese people. In
the Monkey Temple in Ubud I met two teachers. Putri and Eka. who had
brought their students to practise English w ith tourists.
During our conversation I offered to give a clay workshop to the young
teenagers at their school. There was great excitement amongst the students
and I felt this was a very special opportunity for me as well. Gaya Ceramic helped the class to happen
by very generously providing the clay for the workshop. so a few days later we set out for Klung Kung .
The Karang Kompiyang Foundation supports local schools and the community in Klung Kung by
providing intensive English classes and Cultural Studies for students who need extra assistance. The
whole family is involved as they prepare the students for a productive and meaningful life after school.
Judy Boydell. my able assistant for the day. and I were invited to a cultural day. In the generous
tradition of the Balinese. we were entertained. firstly by the boys' gamelan orchestra. and then
with traditional dances by the girls and one of the talented boys. We felt very privileged to see the
enthusiasm and skill with which the students performed for us.
It was then my turn, and the thirty students brought their enthusiasm and talent to creating a
magnificent group of dragons of all shapes and styles. To see the happiness and concentration on the
face of every student was a great reward. Of course there is no surprise that children brought up in this
culture, with all its rich artistic traditions. should respond creatively. For me. to be able to communicate
meaningfully in another culture using few words. my hands and the clay. was an experience I will never
forget.
Sue Buckle teaches in primary schools in NSW and will to return to Bali in 2011 to extend her
volunteer teaching in schools. www.ceramicsinschools.com; E:sue.buckle@bigpond.com
76 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Educat ion
Pages 76 and 77: StudenB enjoying a ceramic experience with Judy Boydel! and Sue Buck.le (centre of photo page 76)
Photos: Gede Sudana
Instructions for making a dragon:
7. Join two pinch pots together to make the body.
2. Join a solid tail and neck onto the body, making it a little wider at the point where it is
joined to the hollow body.
3. Pat a coil flat and cut with a zigzag edge and join along the spine of the body.
4. Make the eyes by cutting a small pinch pot in half, and then add the eyeball detail. Join to
head section.
5. Make solid legs or wings, or both, and join to the body.
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 77

Inside My Studio
Szilvia Gyorgy in her studio, 2010; photo: Madhulika Ghosh
In Conversation with
Szilvia Gyorgy
Vicki Grima: When did you first use clay and what did you make?
Szilvia Gyorgy: I was about 6 or 7 years old. It happened at my Grandfather's house in a small village
where I used to spend a lot of my summer vacations. I had been given some local clay dug out of the
ground and I attempted to sculpt a man reading a clay tablet. I would love to know what exactly he was
reading ... my mother still owns the piece.
VG: Where is your current studio 7
SG: In Newington Armory, which is within a huge park running along the Parramatta River at Homebush
in Sydney. It is a most energising landscape of diversity and contrasts.
VG: Do you work alone or with others?
SG: The studios are shared between 5 to 16 artists of all disciplines. They come and go. There is always
the possibility to meet someone special. It is a very open space, both inside and outside.
VG: How long have you been working in your current studio?
SG : One and a half years.
VG: What are the essential features a studio of yours has to have?
SG : Undoubtedly, one can make anywhere, but the most essential thing for an artist is a stimulating
78 THE /OURNAl OF AUSTRALIAN CERAMICS NOVEMBER 2010

Inside My Stud io
The parklands around Newington Armory Studios; photo: Szilvia Gyorgy
Right: SziJvi. Gyorgy, White Sprout tea light, wheel-formed and altered porcelain, h.l Oem; photo: artist
environment. The next priority is to populate the studio with reliable tools, as they become the natural
extension of the mind's will - for me it is a good wheel and the most essential partner of all, an
excellent kiln I
VG: Describe your work pattern - hoursldayslweek etc.
SG: I like long days in the studio. In summer I love to go to the studio very early to watch the night's fog
and river mist evaporate slowly. Winter is another matter
VG: Describe the work you make in your studio.
SG: At the moment I am developing and working on all sorts of table lights, mainly using porcelain.
VG: What is the most satisfying part of your work?
SG: I love throwing on the wheel and once formed, manipulating and cutting into the clay to test its
limits, and in so doing, testing our preconceptions of what constitutes the essential structure of thrown
pots.
VG : Why is clay your chosen medium?
SG: Because it has so much to offer throughout its different stages, from design conception through to
forming and firing, and finally using. The opportunities for exploration are endless.
VG: Type of clay?
SG: Walker's Superior White and Claywork's Cool Ice
VG: Type of kiln/firing?
SG: Electric top-loading kiln
VG: List your 3 favou rite things that you listen to while working .
SG: ABC Radio and the local chorus of wildlife, mainly frogs and birds and the occasional scurrying of
lizards disturbed from basking under the kiln.
VG: Your favourite tool(s)?
SG: My hands, my wheel and knife, and tools I make out of milk bottles.
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 79

Inside My Studio
Above and right: 5zilvi. Gyo'gy, group
of lights, 2009, wheel-formed and aitered
porcelain, electnc light fittings, tallest 35cm
Above: Szilvia Gyorgy signature; photos: artist
80 THE IOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Inside My Studio
VG: How do you identify your work?
SG: By my signature; in Hungarian the surname comes first.
VG: How do you sell your work?
SG: Through galleries, shops and exhibitions.
VG: What do you do with your seconds?
SG: That is a very good question! I have been using the broken pieces in many different ways, usually
in the firing process, as a kind of 'scaffolding' to surround the pieces and stop them from slumping.
I would like to have a larger range of options for recycling my seconds, as the pile of porcelain is
bu ilding up.
VG: What other jobs, paid or unpaid, fit around your ceramic practice?
SG: I teach pottery to a fabulous group of children at the moment; it's great fun, and in their quick
witted and spontaneous hands rests great hope for the future. I also have a workshop for adults
coming up.
VG: What is your favourite part of the ceramic process?
SG: Sharing the enthusiasm when someone loves owning and using one of my pots.
VG : What is the dreaded job that never gets done?
SG: Perhaps a little indiscreet, but writing my artist's statement fits into that category I Words for me
often set everything into rather heavy concrete.
VG : What are you fussy about7
SG: I really hate iron oxide near 'pure white' porcelain; it's an impossible marriage.
VG : If you could change one thing about your studio, what would that be?
SG: Persuade the pelicans to join me for breakfast.
VG : Which single piece of ceramics would you most like to own?
SG: I am lucky to have one of the smallest pieces by Jun Kaneko. One of his biggest would be fantastic
to own too!
VG: What would you do if you won the lottery?
SG: I would set up a lottery fund to help artists. Everyone should get lucky .
www.szilverworks.com
Upcoming exhibitions:
4 - 24 November, Inside Out; with Walter Auer, Gudrun Klix, Tienne Simons, Nahomi
Yoshizawa, Brooke Thompson, Maria Aguilera-Mendoza, Yoshizawa, Brooke Thompson and
Maria Aguilera-Mendoza; www.esprojects.com.au/esp-gallery; 228 lIIawarra Rd Marrickville
NSW 2044
16 November - 24 December: Wrapped, Gallery 20/17, 2 Danks St, Waterloo NSW 2017
www.studio2017.com.au
22 November - 13 December: Shelf Life, Delmar Gallery, 144 Victoria St, Ashfield NSW 2131
THE JOURNAL Of AUSTRALIAN CERAMICS NOVEMBER 20'0 8,

Ceramic Spaces
Making Sense
Ross Longmuir from planet stirs the pot to discuss viability in the digital age.
Planet began with a dream to contribute to the world through creativity.
Building furniture was my original starting place in order to understand design. My intention was to
develop a sense of materials, quality and place. Friendships developed with other makers working
in mediums such as ceramics, glass, jewelry and textiles as we shared information, inspiration and
resources.
After relocating back to Sydney from Melbourne in the late 1990s, planet's retail showroom was
established in Surry Hills. A stable of like-minded friends/suppliers quickly became part of planet's
profile. Having been the victim of gallery directors myself, from the beginning it was essential that we
should strive to represent makers to our best ability, to help to improve their viability both creatively
and financially. An integrated display where objects made sense through their relationships to each
other quickly gained results by making the most collectable of objects accessible and understandable
to everyone. In 1998, this was a revolutionary concept pioneered by planet; it now seems to be the
decorative object standard.
From the beginning our focus has always been on originality in the areas of craft process, functionality
and layers of meaning. Creativity is about pushing boundaries, creating languages that have not
previously existed, and bringing ideas into conversations that make us consider new ways of being.
It is always a huge thrill to see a breakthrough in concept, style or approach. Significant changes in
mainstream taste have been directly traceable to makers that planet has represented, such as Ruth
82 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

- -
• ,;.J :'\..,-

Ceramic Spaces
Phil Elson, thrown porcela in bowl; Liz Stops, Fencepost Selection 2010, fou nd and altered fence posts, cast porcelain
vessels with decals; Soris Bally, Roadsign Platters, 2010, recycled and altered road signs; Ross longmuir, Frame Media
Cabinet 2001, solid Spotted Gum; photo: Ernest Fratczak
McMillan and Nicole Lister who have changed the language of contemporary ceramics worldwide as the
ripple of their influence has spread.
Despite what planet has achieved - and our current health - the ceramics sector is
fragmented, under-represented and significantly under-priced. Ceramics in Australia is on the
verge of a serious decline unless leadership inspires professional standards. So how can things
be improved?
It seems that the defining development of our era is digital development, and technology is vastly
improving the way that the world works. For example, we now often take digital snaps in store
in response to client enquiries via our website, they forward an emailed image on to a spouse for
discussion, we call their mobile phone and then they direct pay into our bank account. All of this
expediency makes business and trade significantly easier.
So I have considered the industries that are booming by making great use of digital amenity and the
methods they use in handling technology so well. What do they have in common?
1) Carefully manage the environment where their work is represented . Apple computers have some of
the most lavish retail showroom spaces. Art galleries are spacious and clean with meticulous attention to
lighting. Fashion houses create fantasy interiors. Investing in presentation brings results.
2) Restricting supply creates demand. You usually can only buy a cutting edge artist's work through
one gallery, and you have to get onto a preview list and buy at the timing dictated by the gallery. Ditto
for fashion or Mac computers.
84 THE JOURNAL OF AUSTRALIAN CERAMI CS NOVEMBER 2010

Ce ramic Spaces
Kris (oad, Journey, 2010, bone china, red wire with metal frame; photo: Ernest Fratczak
3) Setting a standard price brings the income to maintain innovation. For example, Mac computers are
priced almost identically worldwide. I have never known of an art gallery to go on sale at the end of a
season, and top fashion labels tend to do so very discreetly.
So although in these three areas planet has always tried to set standards, results require a sector to
co-operate as a whole. Sadly there is a trend to discount self-representation through markets, websites
and studio sales. Government resources are used to finance craft markets, tertiary art schools turn their
graduation exhibitions into bargain sales, public agencies encourage self representation, organisations
funded for exhibitions are also half-heartedly selling work and running shops. I am sure that it's all done
with the best of intentions; however, it is degrading and eroding the potential for commercial viability.
Can you imagine what would happen if the Art Gallery of NsW began to sell work off their walls? Or
Akira sold at the Paddington Markets? Or you could buy a bargain Gwyn Hanssen Pigott at a studio
sale? Prices would plummet, galleries would close and, unfortunately, it seems to be happening at an
alarming rate in the Sydney ceramics scene.
In 2006, Craft Australia, the national advocacy, communication and research organisation, released
their first major study: the National Craft Mapping Project. This major study, intended as an in-depth
sector survey, excluded a study of the commercial. I feel that this thinking underlines the deeply strange
separation between commercial sectors and government agencies and is at the heart of the problem.
Websites seem an inexpensive way to self represent; however, by themselves I feel they are fraught
with problems. How can you feel the weight of a cup in your hand, or have an accurate representation
of a glaze, or really compare two different three dimensional items? How can you respond quickly to a
client when you are busy at the wheel? Can you really promote yourself successfully, direct?
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010
8s

Ceramic Spaces
Right: Ingo Svendsen, Twilight Series, 2010, slab-built
porcelain, metal oxides, ceramic stains
Ross Longmuir, Dalsace Desk in Spotted Gum
Dorothy Napangardi, etching
Below: Walter Auer, Spa/Ja
Photos: Ernest Fratczak
Increasingly I am aware of clients using the resources of planet to research an item before buying
direct from a maker. I know so, because clients tell me so . Unfortunately, showrooms cost money to
operate and I feel that clients using this resource should pay. And when there are no more galleries
left. how will cl ients insped work? If items are sold on trestle tables at markets, can prices still be
maintained? As more and more galleries close, are we selling more? Are we really making the sedor
more viable or just making work cheap?
A web facility backs up the real, in-store experience and is another level of service for time-poor
shoppers who know and trust us, just as in computer retailing, or the art world, or fashion . The client
who buys quickly online will do so if they have had experience of the object in the showroom and know
and trust the relationship. But my current dilemma is that without the sophisticated representation
systems of, say, art or fashion, will our planned ecommerce website become just another tool for
bargain-hunting clients to by-pass paying for service, to buy at a discount, dired? Do I have to consider
not identifying makers, to make sales viable?
At planet, as always, we show ceramics to support this fantastically creative sedor; however, we can
only do so much. The sector needs to quickly reconsider its diredion and I hope that you, the reader,
consider this the start of a discussion and a call to action .
www.planetfurniture.com .au
Artists featured on pages 82 and 83
Murray Topham, liz Stops, Inga Svendsen, Shannon Garson, Vanessa Owens. Bridget Bodenham, Mollie Bosworth, Sophie
Milne, Catherine Fogarty, Szitvia Gyorgy, Avi Amesbury, Claystone Pottery, Sandy lockwood, Kris Coad. Andrew Widdis, Walter
Auer, Stephanie James-Manttan, Phil Elson; Ross Langmuir furniture; Deb Jones glass; Dorothy Napangardi etching
Photos: Ernest Fratczak.
86 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Event
150 and counting
•••
Stephanie Gutridge Field sheds light on
The Matchbox Show
Mention the word 'matchbox' and there is a range of
images that pop into your mind including one of little cars
with wheels that go round and doors that open that fit
into the palm of your hand. Many a pocket has held such a
talisman for the young. The Matchbox Show, developed and curated by
Michael Ciavarella, is a show of miniature ceramic works that are contained within
a matchbox. The works currently number close to 150 and have been made by artists from far
and wide. The show was initially associated with Clay Energy Gulgong in Apri l 2010 with the option for
those attending to participate by responding to a single criterion - size. The ambitious long-term goal
is a collection of 5000 matchbox artworks to be exhibited at the International Ceramics Conference in
Finland in 2014.
The matchbox-scaled works explore a range of imagery with the most popular being ceramic matches
in a box (burnt, unburnt, rough, neat, jostled, smooth and gravelly) revealing different clays, treatments
and, of course, personalities - very much like their makers. There is obviously a strong familia rity and
connection to matches as the first spark in the firing process for many potters and many kilns. The work
by Somchai Charoen was of a burnt matchstick adjacent to an unburnt one - easy to read as 'another
chance' or 'more to come', as well as a micro version of the iconic pop matchstick sculpture. Dian Hall's
boxful of burnt matches suggested another story all together. Owen Rye 's box of matches entitled Auto
Firing Clay suggested another. Andrew Bryant took the humble burnt match from being used up to
being placed in a recess-eroded brick as a keepsake and burnt offering. Another tack was the mini
vessel approach by Janet Mansfield, An Historical Collection of Iris Vases, Some Bowls and Blossom
Jars, Chester Nealie's untitled mini jar and Neil Hoffman's Pot pot The mud-building of wasps was
also represented, by Wendy Britten and Sandy Lockwood.
The Australian iconic redheads were referenced by Sophy Blake and Vipoo Srivilasa with a blond
Marilyn, lustre-edged, featured by Julie Taylor. Taking it to the next level was Bernd Weise with
Matchbox Puzzle and Dianne Peach with Smoke which prompted me to think 'where there's smoke
there's firing!'
There is much more, including statuary, jewellery, buttons, landscape tiles and glaze lozenges with
numerous techniques and approaches. Made in Australia, by curator Michael Ciavarella, included
found shards of commercial pottery. Th is show is Michael's idea and is developing a life of its own
beyond its initiating event and first showing. The Matchbox Show is a great idea, and as well as being
a great way to explore the diversity of ceramic material, it also captures the diversity of the makers.
Upcoming Exhibitions:
5 December 2010 (one day only): The Atrium, Federation Square, Melbourne, Vic; 10am - Spm
29 April- 5 June, 2011: Noosa Regional Gallery, Tewantin, Sunshine Coast, QLD
2014: International Ceramics Conference, Finland
Go to the website for Queensland workshop details. Visual and ceramic artists are invited to
attend to make a matchbox artwork for the collection.
Go to www.matchboxshow.com to f ind out how you can be involved.
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 87

Community
Left to right:
Deanne Ivers.
Sue Carson.
MIChele Savoye,
Jan Bizzozero and
Anne Dank;
Cheryl Ahnfeldt
was absent when
the picture was taken.
Photo; courtesy
The North West Star
Mount Isa Potters Group
celebrates 40 years!
A small group of pottery enthusiasts gathered together under a rain tree in front of the CWA
building in Isa Street in May 1970 in response to an advertisement placed in the local paper by Anne
Collins. Their number was small, but their enthusiasm and keenness more than compensated, and so
Mount Isa Potters Group (MIPG) was formed. Among that founding group were Beth Ford, Rhonda
Mathison, May Johnston, Gary and Verna Drummond and Terry Woodward. Enthusiastically they set
out to beg and borrow the basic equipment they needed to begin. Their first workshop was a section
of the old Hilton Hall on the mine side and clay was collected locally during weekend safaris to areas
such as Breakaway Creek and the Hilton Mine area. Equipment was crude.
As membership grew they moved their activities to the homes of the Drummonds and Jan
Clements. In 1971, to reward their labours, the Cultural Activities Group arranged a four-day Vacation
School at Mary Kathleen and expert tuition became available for the first time, through tutor Philip
McConnel.
A new wave of enthusiasm followed and as membership again settled, it became imperative to
find a more accommodating work area - the crypt at the Church of England was 'home' for most
of 1971 . A demand for night classes moved the group to a shed in Duchess Road offered by Joan
Campbell, and membership jumped from twenty to over a hundred. With a grant from the Australian
Council for the Arts, tutor Jeff Shaw arrived and inspired the members, and the foundations of a true
potters' group were laid.
90 THE IOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Co m m unity
Early in 1975, through the energetic efforts of the then president, Megan Purvis-Smith (now
McNicholl), and original member, Beth Ford, the current site was allocated by the Mount Isa City
Council. The Claypan, present home of MIPG, was erected in early 1976. Bill Parks was instrumental in
securing the building from Mount Isa Mines and sourced all the volunteer labour needed for its erection.
Everyone worked exceptionally hard to bring the building to its present standard.
We have had a wonderful list of tutors over the past 40 years - Ian Currie, Ivan Englund, Kevin Grealy,
Betty Crombie, Jeff Shaw, Janna Parmeijer, Rowley Drysdale, Jeff Mincham, Janet De Boos, Dianne
Peach, Janet Mansfield, Joan Wesbter, Connie Hoedt, Rick Ball, Jess Gibson, John Johnson, Greg Daly,
Chris Harford, Bryan Trueman, Rick Wood, Len Cook, Johanna DeMaine, Kevin Boyd, Tim Strachan, Joan
Campbell and Pippin Drysdale.
MIPG's capacity for endurance and survival has proven itself against the forces of mass produced
wares and a dwindling membership of active artisans.
A retrospective exhibition, a collection of works from past and present members, was held at The
Potters' Gallery during July 2009 to commemorate the 40th anniversary. We displayed the name of every
office bearer and the 229 1 members, as well as presenting anecdotes and media clippings of the day.
Sincere gratitude goes to those who have paved the way before us - Anne Collins, Beth Ford, Gary
and Verna Drummond, Noni and Steve Sipos, Dot Rowland, Kathy Genocchio, Anne Dank and Dorothy
Adams. Thanks also to the dedicated core - Michele Savoye, Anne Dank, Jan Bizzozero, Cheryl Ahnfeldt
and Sue Carson - who keep the club going.
Deanne Ivers, President, Mount Isa Potters Group Inc.
Parkes Potters Group turns 40
Sue Smeaton marks a special anniversary
Among the founding members of Parkes Potters Group (PPG) were Kath Maquire, Judy Kinsela, Joan
Cole, Jan Hunter, Claire Chapman, Shirley Harrison, Kath Pollock, Barbara Field, Betty Nicholson, Shirley
Stewart Noble, Christine Nicholson, Win Morris and Pam Egan. Some of the more experienced potters
attended Orange TAFE under the tuition of Peter Gibson. They made beautiful and unusual pots and,
following this, Kath Maquire had a photo of one of her pots included in Pottery in Australia, Vol. 30
no.4 in 1991.
The PPG were instrumental in forming the Combined Craft Group 36 years ago, which still continues
today, trading as Craft Corner in Dalton Street, Parkes. Recently Kath Magui re and Judy Kinsela,
founding members of this group, were awarded life membership in recognit ion of their years of
dedication. Many young people were introduced to pottery during the spring school holidays when
potters conducted workshops for school children. Unfortunately these were discontinued when
insurance became too expensive.
THE IOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 91

Co m munity
left to right standing: Sue Smeatson, Nola Reeves. Pavio, Gail Hall, Maree Stuart, Sean Cassidy, Judy Kinsella. Kath Maguire
(President), Mavis Harrison and Pol Cruz; left to right kneeling: Cathy McPherson and Bev Rowe
Over the past forty years many small kilns have been made and fired - a sawdust kiln in Kath
Maquire's backyard, a raku kiln on Betty Nicholson's property and a salt, wood-fired kiln on Pam Egan's
property. Members currently also enjoy frequent pit-firings on Judy Kinsela's block, gathering and
chopping wood and eating out in the open. Their present gas-fired kiln was purchased second hand and
financed by lamington drives, garage sales and raffles.
The potters have helped to set up the cu ltural hub, Ub Ubbo, in the Filipino village of Sagada, in
the north of the Philippines, after liaising with former PPG member, Sean James Cassidy. Founders of
Ub Ubbo, Pablo Capati III, Lope Bosiang and Sean recently visited Parkes and showed photos of their
wonderful pottery and the brick kilns they have built.
The PPG meet every Tuesday to socialise and create their works of art, working towards their muchanticipated
annual exhibition at Craft Corner. Multi-talented Pol Cruz is now working on a ceramic
series representing fairy stories for a multi-media exhibition in Orange in December 2010. Kath Maguire
is the president of the group and at 89 is still producing exceptional pottery. She is always willing to
share her great knowledge and is an inspiration to the group. Current members are Kath Maquire, Judy
Kinsela, Sue Smeaton, Mavis Harrison, Betty Nicholson, Jan Hunter, Nola Reeves, Beryl Thomas, Cathy
McPherson, Gail Hall, Sally Armstrong, Helen Faint, Brett Summers, Pol Cruz, Bev Rowe, Maree Stewart
and Val Heslip.
Parkes Potters Group; Nola Reeves, E: nolaone@live.com.au
92 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Potters Marks
Potters Marks
Cathy Keys
Kenji Uranishi
Simon Reece
VIPOO Srivilasa
Charlie Schneider
ik
Szilvia Gyorgy
lrianna Kanellopoulou
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 93

Wedge
Dee Taylor-Graham
Do I have to make the same thing over and over again until I die?
As an aspiring, young (well, young in pottery years) artist working primarily in the ceramic medium,
this is a question I find myself asking frequently. It seems that whenever I open a ceramics publication,
I'm disappointed (but not surprised) to see, midst the new and in teresting, the same 01 names doing
the same old stuff.
I wouldn't suggest that we don't need our ceramic heroes (insert Tina Turner song here). It is
the means by which these heroes persist, and what that means for the rest of us, that I fina myself
questioning.
Most recently I was set to questioning (ranting) after looking at the work of the finalists in the Gold
Coast International Ceramic Art Award. The GCICAA is a long-standing competition, which has,
over the years, seen some excellent entries, this year being no exception. Nevertheless, several times, in
looking at the included works, I found myself thinking 'Oh God, haven't I seen that be ore? When will
they move on from that form?' etc '
Why this repetition?
Clay is a tricky material. Mastery takes practice. Ten thousand hours of it apparently2 - easy to see
how things could become repetitive. Putting the material aside for a minute though, I want to ask, what
about the idea 7 'Ceramic art' (like the Liberal Party?) is a broad church, but regardless of where one's
practice lies on that ceramic-art spectrum, a body of work is usually driven by an idea.
I'm prepared to concede that ideas, like manual dexterity, take time to mature and evolve; they need
to be explored from different angles. Changes in scale. form, surface, colour etc. can ad to or change
meanings. Up to a point. But eventually it must be said, when one work starts looking much like
another, that an idea has been, to put it bluntly, thoroughly flogged.
94 THE JOURNAL Of AUSTRALIAN CERAMICS NOVEMBER 2010

Wedge
So why persist?
In thinking about this question, I've been reminded of the old Regurg itator song 'I like your old stuff
better than your new stuff'. From talking w ith colleagues who exhibiVsell their work regularly, it seems
that this is a real problem: the challenge of trying to make new work when galleries and stockists want
more of what they know, more of what sells. Ah yes, the market. It's hard to take risks when one's
livelihood depends on making sales. Fair enough.
But isn't risk taking a goodly part of what being an artist is all about? If any of us were at all 'sensible'
we'd be accountants, or dental nurses (not that there's anything wrong w ith that). I wonder, cou ld
competitions such as the GCICAA not be seen as opportunities to take those risks? No fear of losing
sales, and a chance to put a lifetime of finely honed skills to use in the service of new ideas.
I also wonder though, is there something I'm missing? Is the 'market' about more than just money?
Do books and journals and competitions in some way endorse and encourage the repetition of ideas)
Or is it just that it takes a certain amount of repetition in order to get noticed) More questions than I
can presume to have answers (or space in this essay) for. I would very much like to hear what you think.
In the meantime, I will endeavour to not worry too much - making what I feel, rather than what I
think I ought and taking encouragement from the celebrated wit James Thurber who once said, 'You
might as well fall flat on your face as lean over too far backward."
1 I should mention at thIS point that I didn't enter the competitIOn. ThiS IS not a case of sour grapes, not is my Issue speCifICally With the
GCICAA, it is merely a useful example of the particular bone I wish to pick
2 ThiS notion started With Malcolm Gladwell's book of 2008, Outliers: The Story of Success. but has SInce become an accepted part of the
vernacular
E: dee@futch,com.au
How to Flog Pots to a Dead Horse: Shit up a Hill (after Joseph Beuys); conceived by Jan Guy and Dee Taylor-Graham ,
enacted by a contingent of artISts from Sydney College of the Arts Including Jan Guy. Dee Taylor·Graham. Jacqui Spedding,
Trevor fry, Clarissa Regan and Allana Mcafee; Gulgong, April 2010
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 95

Arch ive: Pottery in Australia. Vo l 23 . No 2. November December 19 8 4
article: Rom aldo Giurgola
Craft Works
in Australian
Architecture
Throughout many years of professional work. I
have come to see archllecture as the realisation
of a sense of place , which In liS uilimale form IS
dedicated to the resolution of the Inner contradic ­
tions In hfe and the balancing 01 opposite forces
ralher than to the mere restatement of them
Architecture ,n that sense elucidates the ponel'
pIes on which It IS bUill. and yet It IS not a demonstralian
of a theory: rather , II characterises a
place In Its human aspects and wllhln a human
dimension. Furthermore. It IS an architecture
neither alienated by fixed ends nor by what Ruskin
calls 'the fury lor the sight of new things': on the
contrary. II IS capable of revealing and containing
innate connections with both the hte of the
present and with pa st historical traditions.
'M ', but you say, 'what does all that have to
do with the crafts?' I would reply that those
connections I have been lalklng about are al the
basis of an architecture of human measure . a
measure uWmalely expressed by the relationship
between a manufactured object and a design
tradition: in a word. by craftsmanship. It IS. In
fact . in craftsmanship that a symbiosis between
matter and people is formed . one which requires
absolute honesty in the task of tran sforming
mailer into objects. The crafting of objects IS an
activity in which a maker 'Ieads' while obeYing
the natural laws. conscious 01 the infinite paten·
lials of materials but never submitting them to
an arbitrary whim. Thus craftsmanship is often
a paradigm. an exemplary model to industry,
to ptanning , to design , and to ethical behaviour.
Craftsmanship represents an attitude in life that
understands the making of the human environ·
ment as a sublimating process of giving and
laking . Furthermore. in respect to architecture.
craftsmanship is capable of providing the linkage
between the industrialised product and cultural
traditions . A timber product is a timber product,
both in Japan and in Scandinavia, but how differ·
ently it is laboured and tooled from one place to
another. and how important for human identity
that difference is ! The crafts in this sense are
an exponent of multiculturalism at its best:
natural materials worked by hand speak a univer·
sal language. equally understood by a Swede or
a Japanese, and yet they also are exponents of
their roots. their cultural traditions. and their
points of view. They are objects which, if of high
quality, have a form in which there is an innate
70
content as well the rich resonance 01 the cui·
lural tradition from which they come
From the very beginning of the deSign compelt·
lion for the new Parllamenl House . we we re
convinced that works of art and craft should be a
fundamental element In the architecture of the
bUIlding . The continUIng process fOf us slOce that
time of aCQu lrtng a knowledge of Austrahan art
and craft IS . In fact . the best chance we have
had to be closer to Ihe 'real Australia' and to ItS
particular view of the world. To work With artists
and craftsmen al the very Inception of a proJect.
rather than merely In the last fra ntic moments
of completion . IS fo r me essential. Just as it is
essential to work with surveyors. engineers.
economists . or scholars It IS not. however . a
popular Idea .
In Canberra . dUring Ihe beginnings of de Sign
development. my associates and I. including Pam
Berg (who is co-ordinating the works of art and
craft for the new Parliament House in our olllce).
prepared a conceptual approach to the develop·
ment of an integrated programme of art and craft
for the building. This approach was formulated
with the contributions of Au stralians from all
walks of life whose views we had sought. We
also began our own private work in the oH ice
with Individual craftsmen: for example . we invited
Peter Travis to come to work with us on colour
tong before materiats were beginning to be selec·
ted for the interiors of the building, and crafts·
men such as leon Sadubin were consulted (in
addition to the usual consultalion with industry)
on the chOice and handting of timber, and other
craftsworkers for materials such as metal and
fabrics.
The formal Art Programme . within which we have
been working for two years on the development
of individuaJ commissions. has many people invol·
ved. A national Art Advisory Committee made
up of artists. administrators. gallery directors,
historians, and parliamentarians was formed to
advise the Construction Authority. and a Curator
has been appointed to the Authority·s staff. The
existence of such a programme. planned carefulty
from the very inception of the building. is a rather
unique event as far as public buildings are con·
cerned. and it is not being implemented without
difficulties. But I an convinced it shall be suc·
cessful. since the art programme is an outgrowth
of the conviction in all 01 our minds that one 01
96 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Archive: Pottery in Australia. Vol 23. No 2. November Decem ber 1984
the primary ways in which Australia can seek the
identity of a particular culture is through the work
01 its artists and c raitsworkers.
Obviously . that aspiration alone does not
guarantee the quality of the final result. We
artists or designers are accustomed to live on
takmg risks : they are risks. however, founded
upon the hope that something better may eventually
result. In working together for well-stated
purposes, those hopes seem to be more substantial.
more encompassing in time. Our expec·
tations about architecture and the crafts are
drfferent today from those in the time ot Wilham
Morris and John Ruskin. The Arts and Crall
Movement of that period had different moti·
vations. Our understanding of architecture is past
the point 01 being a linite, stylistically rigid obleCt
on which works of art, however large in size.
have only a role of mere commentary or. at the
opposite extreme, in which the details are can ·
fined to the abstract perfection of machine
extrusions.
Those were perhaps the standards 01 modernism
which were idealistic just as post-modernlsm is
political, and which were authoritarian. a spiring,
and aiming for the best in modernism, just as
post·modernism is ana rchistic . aimless. and
searching for the popular. Words like 'modernism'
and 'post-modernism ' sound nice: probably they
are there 10 help. But I am less and less sure
01 what modernism and post-modernism are. In
architecture and in art we must search for something
beyond those tenuous connections that
words make to the things they intend to deSCribe .
All 1 know is that we are searching for more
innate connectIOns that bring us closer to the
places 01 our beginnings. The work 01 cralts·
workers is able to suggest those connections.
and their work is an aid in collaborating toward
an architecture that goes beyond Ruskin's description
01 the 'fury for the Sight of new things'
or the singlehanded delivery of images mirroring
circumstances. Instead. we are striving lor an
architecture that is generated at the confluence
of the work of a vast body of artists. scholars.
engineers. economists, and so fo rth. all of them
having an accurate knowledge of their business.
yet also possessing an unaffected imagination
constantly related in the project to each other 's
work. In this vast collaboration. we aU hope to
find a sense of worth in doing something thai
is not an end in itself but a true enhancement
ollile Itsell.
In summa ry, during the past three years, we have
had the oppor tunity to come in contact ~i t ~ many
craltsworkers in this country, from the vltahty and
excellence 01 those associated with the Art
Schools and the people associated With cralts
working in the big cities , to that remarka.ble
'gang' ot Tasmanian artists intent on their work
In timber, leather. clay and fabrics. Rather .than
Irom the ephemeral att ractions of an ever Imprecise
technology such as those repr esented by
the bUIlding Industry . Australian architects may
well find inSpirat ion In the human precISion and
generosity 01 these craftsworkers. In tum. the
craftsworkers themselves may also find that
in integratmg thelf work with architecture. they
may achieve a greater substance In their art.
Rynne Tanton
Wall (1982). Stoneware Clay. modelled and cut
3.6 m x 3.3 m. Client and Archlteel: Depaflment
01 Construction Locallon: Henry House. Launceston.
Photo: Mark BarlkeViclVs.
V/fIcenr McGrath
Wall ( 1979- 80J Clay - Feeneys raku. handbu,Ulormar
drvlded /fI to modular elements. 3 m J( "m. Client:
Altorney·GeneraJ's Depattment. Archltecl: Department
01 Housing and Construction. LocatlOfl: Foyer. Court·
house. Ailce Spflngs. Photo: Gunther DetChmann.
Les Blakebrough
Wall Bannsrs (1982). Stoneware Illes and ta CQue,
screens on sralfl/ess steel supports. Overall size
3 m )( 5 5. m. C1Ienl: Umverslty of Ta smania. Loca tIOn
5" Slanley BU/bUry Theatre. UllIverst'y ot Tasmania.
Photo Ufta Schultze.
Romaldo Giurgola, FRAIA, is lhe sentOr parmer in
MltchelllGiurgola & Thorp, architects tOt the New
Parhament House. Canberra. These remarks were
made at the opening of the e)l;hlbilion, Craft Works in
Ausualian Arctutecture . Architecture Gallery. North
Sydney. organiSed by the Crails Board of the Australia
Council.
7t
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 97

Welt Read
Alan Peascod: Artist of Exceptional Talent
Published by Mansfield Press 2010
Hardback, 144 pages, $80
ISBN 9780646524733
ALAN
PEASCOD
Now available online
www.australianceramics.com
or call 1300 720 124
This book is a group of articles about the life and work of Alan Peascod . The format includes a
number of essays from family, former students and colleagues acknowledging his life. As well as
Peascod's exceptional ceramic work, the book includes drawings and extracts from his writings on
ceramics, together with photographs of Peascod's works. The book opens with a statement of the
artist's philosophy, an extract from Peascod's doctoral thesis.
Alan Peascod: Artist of Exceptional Talent is divided into seven chapters. Five of the essays come
from some of Australia's most recognised ceramics artists - John Kuczwal, Owen Rye, Simone Fraser,
Lindsay Duncan and Chester Nealie. These artists document their appreciation of the ceramic art of one
of the most perceptive and influential individuals in contemporary international ceramics.
The majority of images of Peascod 's work are by photographer Greg Piper. A number of the works are
from the collection of Alan's wife, Ellen Peascod . Photographs of early ceramic works from the 1970s
through to more sophisticated later ceramic pieces are included. Alan used drawing extensively in the
development of ideas, forms and imagery, and many of his diary images are also included in the book.
Over t ime, Peascod's sketches for imaginative forms became realised as ceramic works with the drawings
becoming an artwork in their own right. The images portray the structure, richness and complexity in
Peascod's ceramics and art works.
The authors describe Peascod as innovative and productive in the development of reduced lustre and
dry glaze. The book addresses Peascod's involvement in education, which placed him in an environment
of learning, cultural influence and experimentation. Here he communicated and shared his enthusiasm
for individual identity and his passion for the development of ceramics as an art form. Peascod seized
opportunities to debate the role of historical references toward contemporary ceramics. The contribution
he made to the diversity of individual style was enriched by his acceptance of a diversity of techniques
and forms.
Ellen Peascod wrote the introduction about Alan's personal characteristics and the milestones in his
life. She also writes about Alan working with artists such as Ivan and Patricia Englund, Les Blakebrough,
Colin Pearson, Alan Caiger-Smith, John Reeve and Said el Sadr.
John Kuczwal gives an overview of the development of the reduced lustre technique, describing how
Peascod worked with Caiger-Smith and el Sadr whilst continuing to develop his own studio practice. An
98 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Well Read
article by Peascod is included alongside, describing the experimentation, research and historical material
gathered through international ceramic studio practice and his need for written documentation.
Simone Fraser describes Peascod's development of dry glaze through his exploration of materials and
techniques and, in particular, his use of unpredictable materials where he recognised exquisite aesthetic
results. Fraser also describes how Peascod required the aesthetic to capture the viewer's mind. Alongside
are Peascod's writings about the need for hard work to capture an individual response and to evaluate
ideas after intense studio practice and diverse life experience.
In the next chapter, Owen Rye describes the development of spiritual parallels, with alchemiC metallic
surfaces contrasting the plastic nature of clay. Peascod 's writing indicates his belief that thought process
and imagination was as important as developing technical expertise.
Lindsay Duncan describes the development of Peascod's figurative forms and how this need to
produce raw and satirical portraits became a powerful vehicle for
his figurative sculptures. Peascod's accompanying text comments
on the future direction of art activity whilst describing his
experiences in tertiary education.
Chester Nealie writes about Peascod constantly drawing new
ideas and concepts to produce harmonious form and decoration
and about his use of unique ceramic construction techniques.
Peascod's drawings were enhanced by his experimentation with
kilns and reduction firing which challenged his artistic practice.
Peascod describes the importance of el Sadr addressing the need
for historical references. He also discusses lustreware shard samples
from Fostat.
Ettore A. Sannipoli writes about storytelling as an integral part
of maiolica production, while Peascod describes the inspiration he
received from Islamic art and his method of working through the
subconscious process.
The Afterword by Peter Haynes and Acclamation by Robert Bell,
give further insight into the life and works of Peascod .
In Alan Peascod: Artist of Exceptional Talent we can read
how Peascod embraced the challenge of related technology and
how he was not just a technician but had an appreciation of art
history and a passion for making a personal contribution to the
human spirit. Peascod had a vision, involving himself w ith radical
challenges, constantly tackling technical and aesthetic ideas
and expanding the network of contacts which has led to the
international awareness of Australian ceramics. The tone of the
book conveys Alan Peascod as a much loved and greatly respected
artist who is now sadly missed by many who knew him and had
the pleasure of working with him.
Review by Amanda Hawthorn
THE IOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 99

Well Read
Iznik Pottery and Tiles
in the Calouste Gulbenkian Collection
by Maria D'Orey Capucho Queiroz Ribeiro
Published by Scala Publishers 2009
Hardback, 136 pages, $74.95
ISBN 9879728848583
Now available online
www.australianceramics.com
or call 1300 720 124
Iznik pottery marked the zenith of an empire which stretched from North Africa to the Balkans and
spread out over much of Western Asia. In the 15th and 16th centuries CE, the Sultans of the Ottoman
Empire embarked on massive bu ilding projects of mosques and palaces, establishing in carved stone,
brick and exquisite tile the glory of Islam and the triumph of the Sublime Ottoman State. Sultan Selim
I, on conquering Tabriz in Iran, imported its most skilled artists and craftsmen to work in the palace
workshops in Istanbul. The designs of these court artists were sent to Iznik to be realised as tiles, jugs,
plates, basins and ewers by the potters of Iznik.
Based in the small town of Iznik (formerly Nicaea) in Turkey, the high silica body used there fired
white, hard and fine, superior to that found anywhere else in the empire. The designs used were
sumptuous, combining decorative elements of the much prized Chinese Xuande and Ming porcelain
with M iddle Eastern motifs. Saz leaves were combined with lotus flowers and peonies. The Chinese
rock and wave decoration was stylised and reinterpreted to border plates exuberant with tulips and
carnations, pomegranates and artichokes, hyacinth and narcissus. The colouring gradually moved from
blue and white to incorporate green, purple and, eventually, the vivid orange-red of Armenian bole -
an iron-rich slip - a readily identifiable characteristic of Iznik pottery which is used to this day.
However, from the early 17th century the fortunes of the Iznik potteries were on the wane. Instability
within the empire and a decline in royal patronage, shortages of materials and a rise in competition
from other pottery centres such as Damascus and Kutahya, all led to a rapid fall in demand and an
exodus of skilled craftsmen. By 1648, only nine kilns remained of the three hundred master potters' kilns
that had existed a mere thirty-two years before.
The examples in this lavishly illustrated book are all taken from the personal collection of Calouste
Sarkis Gulbenkian, now on view at the Calouste Gulbenkian Museum in Lisbon, Portugal. His passion
as a collector was for work from the 16th and 17th centuries, the high point of Iznik pottery. Full page
colour photographs provide the reader with an excellent overview of Iznik ware and tiles of this period,
and the text, while brief, provides an interesting guide to the history of Iznik ware. The only small regret
that this reviewer has is that the book's visual focus is solely on work from the collection, omitting any
visual reference to the wider historical context - the full splendour of Iznik pottery creating gardens of
tiles illuminating the interiors and facades of Ottoman palaces and mosques.
Review by Karen Weiss 2010
100 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Call for Papers
OJE F"AI 3
australian ceramics
Call for Papers
The Journal of Australian Ceramics UAC) is excited to announce a new peer review
section to be incorporated into each issue. Our aim is to publish one article in each
issue.
What is 'peer review'?
A paper written for peer review is of a more academic standing than a general article; it is not a
platform for presenting a personal and subjective opinion. While not having to present an argument, it
does have to draw upon existing knowledge in the field to support the author's conclusions and should
offer new information andlor interpretations or alternative insights. This analysis must be substantiated
by comprehensive research - supported by citations - that locat es the thesis in context and also allows
the reader to follow up references relevant to their own practice, thus contributing to the ongoing
development of knowledge. Sometimes this review process is called 'refereeing'.
The JAC is calling for articles focusing on any facet of ceramic discourse: contemporary artists and
their works; historical perspectives on artists, art movements or time periods; glaze resea rch; research
papers; technical innovations; and firing research . A wide breadth of subject matter is encouraged
and should be of interest to ceramicists, potters and sculptors. galleries and collectors, educational
institutions and their students.
The themes and deadlines for 2011 are:
Issue 5011, publication 1 April 2011
Ceramics and Body: Deadline for copy - 8 January 2011
Issue 5012, publication 17 July 2011
Ceramics and Narrative: Deadline for copy - 3 April 2011
Issue 50/3, publication 20 November 2011
Ceramics and Utility: Deadline for copy - 13 July 2011
Papers must conform to the editorial and photographic requirements available on
www.australianceramics.com. Click on the 'Form Downloads' link.
Papers will be blind reviewed by three qualified individuals within the ceramics field. Peer review
methods will be employed to maintain standards, improve performance, and provide credibility.
We look forward to receiving your submissions.
Vicki Grima, Editor, The Journal of Australian Ceramics
Dawn Whitehand, Peer Review Co-ordinator
THE IOURNAl OF AUSTRA LIAN CERAMICS NOVEMBER 2010 101

Australia Wide
act
By the time this issue is published work will
have begun on five new studios at the Watson
Arts Centre. Funded by the ACT Government
and expeded to be completed by mid-2011,
these studios will be available for lease by clay
workers and will also provide the Canberra
Potters' Society the opportunity to host artists
in residence - a much needed and very exciting
development. Also by mid-November, the 2010
recipient of the Doug Alexander Award will have
been announced. This award will be judged
by Sandy Lockwood at the Society's Annual
Members' Exhibition, 21 Odober - 17 November.
As Christmas approaches, CPS will offer its
Christmas Fair with a wide seledion of quality
work by members just right for gilt -giving, and
after Christmas will embark on the first stage
of a planned Summer School development with
"Throwing Tea Pots and Casseroles", 1 0, 11 and
12 January, with resident potter Chris Harford.
Go: www.canberrapotters.com.au
Strathnairn Arts Association is currently hosting
visiting artist Brenda Danbrook from Canada,
a recipient of an ANU Emerging Artist Support
Scheme exhibition at the Watson Arts Centre
earlier in 2010 when her Canadian porcelain
bottles and beakers with restrained decal
decoration were a talking point. Her new work
is eagerly awaited. The Strathnairn Members'
Exhibition will open on 20 November with the
theme "Wool Shed ", in recognition of the
beautiful rural surroundings and the current
refurbishment of the ancient woolshed on the
property. Coinciding with the opening of this
exhibition will be the popular fundraising Soup
and Bowl Day.
The ANU School of Art will hold an exh ibition of
work by 2010 graduating students from 4-12
December. An extended range of graduate work
will also be shown in the various workshops.
A highlight for 2011 will be the Geoff Crispin
retrospedive exhibition at Watson Arts Centre in
March. It is touring from Grafton Regional Art
Gallery.
Best wishes to all for the festive season .
Jane Crick
E: janecrick@dodo.com.au
nsw
The success of the Bo wled Over exhibition at
Back to Back Galleries merits a repeat in 2012.
Invited artists were asked to enter 1-3 bowls in
the show. An ecledic mix of ceramic styles gave
buyers a large range to choose from. Added to
this were bowls by artists who work in glass,
pewter, wool, paper and felt. Contact www.
newcastlepotters.org.au, if you are interested in
being part of the next Bowled Over exhibition.
A quick trip to Sydney yielded a bonus visit to the
White Rabbit Gallery (www.whiterabbitcolledion.
org) in Chippendale. The gallery is dedicated
to showing contemporary Chinese art colleded
by the owner and generously opened free to
the public. On show is Ai Weiwei's Sunflower
Seeds. The ceramic work consists of a half ton,
conical pile of handmade and hand-painted 2 em
porcelain sunflower seeds. The installation makes
a beautiful form and the added significance of
the humble sunflower seeds being regarded as
a treat during the Mao period adds a further
layer to the work. Weiwei is also an activist on
behalf of the poor and the painting of the seeds
employed BO people over six months.
Around the corner we happened upon the
Peloton Gallery (www.peloton.net.au). This
artist-run gallery is supported by City of Sydney
and Arts NSW and is open to all media. Toni
Warburton displayed a shelf of salvaged objedS
that included ceramics from a house fire. Sharing
the space was Trevor Fry's large organic form
which seemed to have flowed from the potter's
hand w ith a mind of its own. A dry barium base
glaze with another dry glaze over produced a
serendipitous result.
Newcastle Region Art Gallery's significant
coiled ion of Japanese ceramics will be on show
from 6 November 2010 to 16 January 2011 .
The exhibition explores the influence of Zen
Buddhism on art and how the prinCiples were
interpreted in Western painting.
Sue Stewart
E: sue@ceramicartist.com.au
qld outh east
The Gold Coast Potters' Association (GCPA)
inaugural Empty Bowl Lunch - Hope not
Hunger was a resounding success in August.
102 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

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There are many people to thank, including The
Australian Ceramics Association for making
it possible to reach potters via their Email
Discussion list. We achieved sales of over $1200
in the silent auction of donated pots, with $4800
being handed over to the Anglicare Crisis Centre.
Following this was the GCPA Annual Members'
Exh ibition on 14 August, which was opened by
John Walsh, Director of the Gold Coast City Art
Gallery, and judged by the esteemed ceramic
artist Kevin Grealy. The overall winner of the
GCPA Award was Megan Puis for Obsidian a
group of six tall bottle forms which reflected the
meaning of obsidian perfectly, " ... a jet-black
volcanic glass, chemically similar to granite and
formed by the rapid cooling of molten lava, that
was used by early civilisations for manufacturing
tools and ceremonial objects". The themed
section for Bush to the Beach was awarded
to Nanette Hall for Handbuilt Porcelain with
found object. Anne Mossman took out two
awards: the Ruth Lyon's Encouragement
Award and the Heather Wilton Memorial
A ward. Andrew Smigrod's Vase was also
awarded the Heather Wilton Memorial Award
and works by both Anne and Andrew will sit well
in our historical collection. The judges choice for
a Complementary Group of Pots was awarded
to Shirley Battrick's Then and Now (Set 1),
which used decals to convey messages about
domestic violence. The Willy Toomey Memorial
Award for a Student Handbuilt Work was
awarded to Lyn Reeves for Serenity, a strong
monumental work.
The 27th Gold Coast International Ceramic Art
Award opened on 21 August and was judged by
Stephen Benwell. The winning entry was Tree
with Busted Guts and Galahs 2009, by Peter
Cooley from the Blue Mountains in NSW.
Clay Art Benowa, a cooperative group from the
GCPA re-opened their gallery on 2 October. It will
be open every Saturday and Sunday.
If any groups in SEQ have news they would like
to include in the first issue for 2011 please email
me.
Happy potting,
Lyn Rogers
E: romeo-whisky@bigpond.com
www.goldcoastpotters.com
5
JamFactory Contemporary Craft and Design
welcomed Prue Venables as the new Creative
Director of the Ceramics Studio. Prue Venables'
appointment is very exciting for both the
JamFactory and the local ceramics community,
as she brings with her more than 25 years of
experience as an internationally renowned
artist and designer. JamFactory recently hosted
Tea w ares in Gallery 1, a national survey of
ceramic and metal artists including Bruce Nuske,
Patsy Hely, Prue Venables, Jane Robertson and
Mel Robson; and, as part of the South Australian
Living Artist Festival (SALA), Liz Williams' finely
constructed figurative works Virgin Saints and
other Paraphernalia were shown in Gallery 2.
We are looking forward to Patsy Hely's upcoming
solo exhibition in Gallery 2, from 29 October-
5 December. Currently in JamFactory's Ceramics
Studio a skills and professional development
program is taking place featuring two Indigenous
artists, Daisy Bell Virgin and Christina Gollan,
working alongside Sylvia Stansfield. Expressions
of interest are being sought from those
interested in hiring studio space in the Ceramic
Studio at JamFactory for 2011;
E: contact@jamfactory.com.au.
Congratulations to Gerry Wedd who was
awarded the Hobart Art Prize in the Ceramics
category. Gerry's Silent Spring comprised 55
hand-modelled porcela in dead birds, a poignant
reminder of environmental degradation. Gerry
was also part of an exhibition Come on Spring
with Philip Hart and Lesa Farrant at Dog Dragon
in Port Elliot. Aptos Cruz featured the detailed
works of Avital Sheffer for the first time in
Adelaide in The Space Between, where she
explored themes of cross-cultural aesthetics,
ideologies and traditions. Bruce Nuske, Gwyn
Hanssen Pigott, Prue Venables and Kirsten
Coelho were co-collaborators in the exhibition
Collectors, held at Khai Liew Design in Norwood
to mark the publication of the SALA Monograph
on furniture designer Khai Liew. SALA week also
featured exhibitions by Tamara Hahn at One
Small Room, Colour and Clay at the Adelaide
Potters, and a ceramics conference at Studio
Potters in Klemzig featuring Jeff Mincham and
Paul Macdonald. Jane Robertson, Gerry Wedd,
THE JOURNAL Of AUSTRALIAN CERAMICS NOVEMBER 2010 103

Australia Wide
Leo Nuehoffer and Kirsten Coelho had works
included in this year's Gold Coast International
Ceramic Award with Gerry Wedd's Wahine Urn
receiving a judge's mention.
The South Australian Ceramic Award 2010 was
held at Adelaide Central Gallery. It was very
well received with many sales. Congratulations
to Helen Fuller who won this year's award with
her vibrant hand-built works which will become
part of the Art Gallery of South Australia's
permanent collection. Congratulations also to
Stephanie James-Manttan and Maria Parmenter
whose works from the exhibition were also
acquired by the Art Gallery. Congratulations also
to Sylvia Stansfield, Jane Burbridge, Francisca
Tyssen and Maria Chatzinikolaki who received
commendations from judge Gerry Wedd.
Stephen Bowers is currently preparing for a solo
exhibition opening on 27 November at Lauraine
Diggins Fine Art in Melbourne. A catalogue will
accompany the exhibition with essay by Mark
Thompson.
Kirsten Coelho
E: kandd@chariot.net.au
The Tasmanian Ceramics Association (teA)
held its annual exhibition from 15 August to 5
September in the delightful setting of the Rosny
Schoolhouse Gallery. The theme chosen for
the exhibition was Se ven Deadly Sins, which
proved a challenge for many members. Leaving
the 'comfort zone' resulted in some in teresting
work. There were sixty exhibits from twentyeight
members, including several from our sister
association in the North.
The two judges, Belinda Winkler and Peter
Battaglene, awarded the following prizes:
• The Tasmanian Ceramic and Pottery Supplies
award for overall excellence went to Ch risti ne
Crisp for Pompadour's Passion.
• The Derwent Ceramics Supplies award for
functional ceramics went to Sandy Wrightson for
Dante's World.
• The Derwent Ceramics Supplies award for
sculptural work went to Isobel Harvey for Tree .
• The Northcote Pottery award for a piece
responding to the theme went to Adela Taylor
for Is it love?
• The Journal of Australian Ceramics award for
innovative use of the medium was presented
to Sandy Wrightson for her ceramic jewellery,
Dante's World.
The teA has several workshops in the pipeline
and is planning to offer a scholarship for a
student seeking to attend Tasmanian Woodfire
2011 . This promises to be an exciting activity
with several overseas participants.
Also not yet official, but highly likely, is a move
for the Hobart Polytechnic (think TAFE) ceramics
courses. For many years TAFE ceramics students
have shared a very cramped studio with Adult
Education students. It is hoped/expected that in
201 1 the program will take up residence in the
University Art School w ith more space and better
facilities. The Adult Education program will also
benefit from the reduced pressure on the existing
studio space.
John Watson
E: john@dmink.net
The 9th Festival in Ceramics, Firing into the
Future, organised by Ceramics Victoria and
hosted by the University of Ballarat, was a threeday
feast of information. The demonstrators
spoke about their ceramic practice, inspirations
and philosophy and demonstrated their making
techniques in a relaxed and informal atmosphere.
Paul Aburrow spoke about his love of landscape
and showed the printing techniques he used
to express this in his work. Julie Bartholomew
demonstrated her experimental approach to
casting as she created moulds of fingers, toes,
lips and elbows using a silicon compound. James
Cattell and Maria Coyle created figurative works
using hand-forming techniques. Merran Esson
and Avital Sheffer created large, hand-built
forms. Merran worked spontaneously, using
large textured slabs to bu ild up her forms, while
Avilal worked with coils and carefully considered
the form and the placement and proportion of
each one. Janet DeBoos worked mainly on the
wheel, deftly throwing a large number of her
trademark forms, joining and finishing them
and demonstrating her complete mastery of the
wheel to a large enthralled audience. Thank you
to the demonstrators, the organisers and the
104 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Australia Wide
numerous helpers for a great three days.
Whilst in the Ballarat area I had the pleasure
of seeing the inaugural Clunes Ceramic Award
(CCA) Exhibition. The work of fifty finalists was
exhibited in t he historic village of Clunes. The
C CA is an acquisition prize of $ 5000 with the
winning entry for 2010 becoming part of the
Art Gallery of Ballarat's Permanent Collection.
Neville French was the winner with Mungo
Light 3, a large softly thrown bowl form with
a warm satin vellum glaze. Emerging Artist
awards went to Amy Kennedy and Jane Walton,
with Phil Elson receiving a Recommendation of
Excellence for his work In the Brooding Colours
of the Late Afternoon Across the Basque.
This was an exhibition of highly individual work
and was representative of the broad variety
of contemporary ceramics being produced in
Australia.
The Pat Emery Award for emerging artists, held
in conjunction with the Ballarat Festival, was won
by Sharon Masson. Other award winners were
Louise Curtis, Andrei Davidoff, Elizabeth Kent
and M irta aura.
Glenn England
E: glennengland@optusnet.com.au
ClayFeet's exhibition, Connected was opened by
Sandra Black at Mundaring Arts Centre (MAC),
with the work showing many interpretations of
the word 'connected' . MAC has a continually
changing program and is always worth a visit.
Alasdair Gordon was guest speaker at the
Ceramic Arts Association's AGM. Cher
Shackleton is continuing as president. Out-going
committee member Sue Warrington has spent
many hours working on the new-look CAAWA
website. Elaine Bradley has taken over from
Andrea Vinkovic as editor of PYRE - a hard act to
follow, but Elaine has produced her first edition
with flair.
CAAWA's Annual Selective Exhibition 2010
was held at the Central Institute of Technology,
attracting a rich variety of works from
throughout the state. Dr Stefano Carboni,
Director of the Art Gallery of WA, opened the
show. The Kusnik Award went to Helen Dundo;
Janet Kovesi Watt won the Judges Choice Award;
and Lee Carter, Ian Macrae, Fleur Schell and Gill
Treichel were given Highly Commended awards.
Well done everyone on a splendid exhibition.
Enthusiastic members of Whiteman Park Pottery
work hard to produce new and interesting
works to show in their gallery. New member
Jo Leith recently presented Whiskers and
Wings - a Celebration of Living Things. Jo is
an art specialist primary teacher who has been
experimenting with printing lino prints onto clay,
using honey as a medium.
The studio and grounds of ceramic artist Ian
Dowling were opened to the public for Art in
the Forest, by the not-for-profit group Arts
Margaret River. Large ceramic sculptures and
installations of modular pieces w.ere set in a
normally private part of the South Western
Australian Jarrah Forest. Current smaller works
by Ian were displayed, along with the results of
student workshops and invited sculptors working
in other mediums; www.iandowling.com.au.
POTober was a splendid long weekend at the
Central Institute of Technology with an exciting
smorgasbord of workshops, presentations,
a market, an exhibition and so much to be
enjoyed. Well done Cher Shackleton and all
organisers and presenters!
The Ceramic Study Group visited Janet Kovesi
Watt's home to view her collection of ceramics,
gathered over 40 years. In August, Sandra
Black gave a presentation on her residency in
Jingdezhen.
Put a note in your diary for the Fremantle Bazaar
on 4 & 5 December. The George Street Festival in
East Freo is on the same weekend.
Pauline Mann: 08 9459 8140
E: pandpm@Westnet.com.au
Gill Treichel
Domestic
Ldndscape
2010
Mundarmg
Arts Centre
Connected,
September
2010
Photo:
Pauline Mann
THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010 105

Stockists
ACT
canberra potters society
1 asplnal sl watson
national gallery of australia
bookshop parkes pi canberra
walker ceramics
289 canberra ave fyshwick
NSW
art gallery of nsw
art gallery rd Ihe domain
sydney
bathurst regional art gallery
70-78 keppel st bathurst
be/lingen newsagency
83 hyde st be/lingen
brookvale ceramic studio
11/9 powells rd brookvale
coffs harbour pottery supplies
8 primrose ave mullaway
cudgegong gallery
102 herbert sl gulgong
essential object
65 andy poole drv t athra
gleebooks
131 glebe point rd glebe
hazelhurst regional gallery
782 klngsway gymea
inner city dayworkers gallery
enr stjohns rd & darghan st glebe
keane ceramics
177 debenham rd soulh somersby
kerrie lowe gallery
49-51 king slreel newtown
lake macquarie art gallery
1 a first st booragul
museum of contemporary art
140 george st sydney
new england regional art
museum
kentucky slreet armidale
northern rivers pottery supplies
54d terama st north lismore
nsw pottery supplies
411159 arthursl home bush
nulladulla potters
princes hwy milton
object gallery
417 bourke sl surry hills
oxford art supplies and books
145 victoria ave chatswood
planet
114 commonwealth Sl surry hills
port hacking potters group
po box 71 miranda
potters' needs
75 curtIS st oberon
sabbia gallery
120 glenmore rd paddington
5tUrt craft centre
range rd mittagong
NT
museum and art gallery of the nt
(onacher street fannie bay
QUEENSLAND
cairns regional gallery
em abbott and shields sts cairns
kickarts
96 abbott st cairns
north queensland potters
association
15 flowers 51 townsville
pottery supplies
51 castlemaine Sl milton
queensland art gallery
stanley place south bank
the day shed
2124 h,-Iech dve kunda park
SOUTH AUSTRALIA
art gallery of south australia
north terrace adelaide
bamfurlong gallery
main st hahndorf
jamfactory craft & design
19 morphelt st adelaide
the pug mill
17a rose st mile end
TASMANIA
derwent ceramic supplies
16b sunderland 51 moonah
VICTORIA
artisan books
159 gertrude 5t f itzroy
bendigo art gallery
42 View street bendigo
NEW
dayworks
6 Johnston court dandenong
craft victoria
31 fhnders lane melbourne
kazari collector and cafe
450 malvern rd prahran
macedon ranges potters
33 yellow gum boulevarde sunbury
national gallery of victoria
180 st kilda road melbourne
northcote pottery supplies
142- 144 weston 51 brunswick east
potier
29 mills st albert park
potters equipment
13/42 newst ringwood
red hill south newsagency
shoreham rd red hill south
rmit books hop
330 swanslon 51 melbourne
shepparton art gallery
70 welsford st shepparton
WESTERN AUSTRALIA
angus & robertson bookworld
240 york Sl albany
fremantle arts centre
1 finnerty st fremantle
graham hay
robertson park artists studiO
northbridge
jacksons ceramics
shop 4,30 erindale rd balcatta
john curtin gallery
kent street. curtin uni of technology
bentley
potters market
56 stockdale rd o'connor
NEW ZEALAND
christchurch art gallery NEW
worcester blvd and montreal st
christchurch
lopdell house gallery
418 titirangrrd waitakere city
Please contact the office if you
have a suggestion for a new
stockist.
E: mail@aust ralianceramics.com
106 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

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108 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2010

Books & DVDs
On the Shelf
More books are available on www.australianceramics.com
Ekctric Kiln
NEW
1. Iznik Pottery
and Tiles
by Efraim Karsh
This publication is
based on a selection
of 80 objects from the
16th and 171h Century.
now in the Calouste
Gulbenklan Collection.
AU S39.95
2. Slab-built Ceramics
by Coli Minogue
M inogue has woven artists
stones and techniques Into
thiS accessible, tech nical
book for both students and
educators. It covers some of
the exciting possibilities of
th iS basic technique.
AU S50
3. Clay, Light and Water
by Margaret O'Rorke
ThIS book by Margarel
O'Rorke, gives CNamlClsts
a broad insight Into the
problems involved, offering
practical adVice and
pOinters to enable you to
successfully incorporate
clay with light and water In
order to produc.e beautiful
and creative pieces.
AU S39.9S
4. The Electric Kiln
by Harry Fraser
Written for the craft potter,
studio, amateur, or professional,
this book is a comprehensive
guide to the selection,
installation, use and maintenance
of electric kilns in studios and
schools.
AU S39.9S
5. Said el Sadr, 1909
- 1986 Potter. Painter,
Sculptor. Teacher by
Alan Caiger-Smith
A new biography by
Alan (aiger-Smith on the
contemporary Egyptian
potter, Said el Sadr. The
book includes a personal
reminiscence by Alan
Peascod.
AU S48
6. Alan Peascod Artist
of Exceptional Talent by
Janet Mansfield
This book IS both a record
and a celebration of Alan
Peascod's lif e and work.
A number of essays have
been commissioned from
friends, former students
and academiC colleagues.
AU SSO
7. Painting with Smoke
David Roberts Raku
Potter by lynne Green
Since the first edit ion
of this book (Smith
Settle, 2000) the phrase
'painting w ith smoke',
coined by David Roberts,
has become part of the
lexicon of raku ceramics.
AU S7S
8. Ben Richardson - Fire
Works DVD and booklet
This DVD and 38 page booklel.
published in April 2010.
examines, challenges and
celebrates Ben Richardson's
dedication to making s ite~
specific, wood~fired ceramics;
24.5 minutes.
AU S4S
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CUSTOM DECALS
By using state of the art digital printing technology, Decal
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Custom Decals are only limited by your imagination!
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T: 1300 132 771; E: enquiries@decalspecialists.com.au
KERRIE LOWE GALLERY
Only reta iler of pottery supplies in Inner Sydney; Keane's
clays: discount for 5+ bags; wide range of tools. glazes,
underglazes; student discounts; 49 King St. Newtown 2042
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lOam - 5.30pm IThurs until7pm.
POTIERS EQUIPMENT PTY LTD
Quality supplies and friendly service; A wide range of clays
and colours, kilns. wheels, slab rollers, pugmills, extruders.
all sorts of accessories, materials. glazes and tools.
Shop 13/42 New St, Ringwood VIC 3134
T: 03 9870 7533; F: 03 9847 0793
POTIERS NEEDS
Sound technical advice. kiln repairs and maintenance;
Cla}'\Norks'. Walker's and Keane's clay; pottery equipment
and too!s; delivery to your door; short courses and regular
specialist worKshops; friendly personal service.
Potters Needs Gallery, 75 Curtis St, Oberon NSW 2787
T: 02 633604"; F: 02 63360898; M: 04 I 8 982 837
E: info@pottersneeds.com.au; 'WVWV.pottersneeds.com.au
TETLOW KILNS & FURNACES PTY LTD
One of Australia's most experienced kiln and furnace
manu-facturers; Australia's largest range with 40 standard
sizes. custom sizes on request; Clean, efficient electric and
gas kilns and furnaces; made in Australia. environmentally
friendly. 12 George St, Blackburn VIC 3130
T: +61 (0)39877 4188; F: +61 (0)398941974
E: info@tet/ow.com.au; www.tetiow.com.au
venco VENCO PRODUCTS
Manufacturers and exporters of high quality pottery
equipment. Venco manufacture a range of pugmills with
output capacities, suitable for schools and studios through
to high capacity industrial units. Venco pottery wheels are
world regarded for quality and reliability.
T: +61 (0)89399 S265; F: +61 (0)8 94971 335;
WrNVV.venCO.com.au
CERAMIC TRAVEL
ARTS OF JAPAN DOES BALI Workshops 2011
7 - 19 April. 2011: Culinary Clay - Indonesian cuisine and
vessels to match; $2490 plus airfare; 22 Sept - 7 Oct, 2011 :
Kiss of Flame - Clays, slips. forms and firing the anagama;
$2490 plus airfare (includes internal travel. accommodation.
breakfasts and lunches, materials, tuition and firing);
strictly limited to 8 places each; book now; (ontad Bruce
McWhinney, T: 042S 203 205; www.brucemcwhinney.com
BALI DRIVER AND TOUR SERVICE
Reliable. friendly driver with good English; ideal for airport
pick-ups and day trips to aU parts of the Island; experienced
tour guide who can also plan your itinerary; car seats up to
7 adults; Gede comes highly recommended by Australian
ceramic tour groups.
Gede Sudarta; E: gdsudarta@gmail.com; M: 08 I 856 2910
EASTER WORKSHOP IN BALI
with instructor Steve Davies. 20 - 27 April 2011
Surface Paradise - explore the exotic and inspiring culturally
rich environment that is Ubud, drawing inspiration and
creativity from our surroundings to develop imagery while
exploring surface treatment techniques. Cost AU$1350,
includes accommodation, lunches (on studio days), 5 days
in the studio. 2 day long excursions, all materials, firing and
instruction . Call Steve on 0402 067 382 or E: stevedavies2@
hotmail.com: \fIIINW.stevedaviesceramics.(om
DISCOVERING ITALY
Join Victor Greenaway on a great journey around Italian
ceramics. Go to www.discoveringitaly.com for all group
programs, itinerary outlines, other art travel options and
master classes. See www.victorgreenaway.com for the latest
ceramic and painting image galleries, as well as details on
workshops and exhibitions. Group programs are for all
comers. No experience is necessary.
Contact Kylie in Australia, T: 04 I 7 339 498
or Judith. E: judithgreenaway@discoveringitaly.com
GAYA CERAMIC ARTS CENTER: BALI, INDONESIA
Intensive two week workshops tor ceramicists in remarkable
and inspiring location; focused getaways for pre-established
clay groups; two month residencies for established and
emerging ceramic artists; spacious, light-filled, fully equipped
studio; Visit our site for upcoming courses and information,
wvvw.gayafusion.com
GROUPS
CERAMIC STUDY GROUP Inc
Our meetings are held on the fourth Friday of each month
{March to November} at the Epping Creative Centre, Dence
Park, 25 Stanley Street, Epping at 8 pm. Guest demonstra·
tor each month and access to our comprehensive library of
bookS/VideoS/slides. Members and visitors welcome.
Plenty of free parking. T: 02 9869 2195; F: 02 98694722
MOULD/ MODEL MAKER
Specialist in prototype and mould-making for ceramic mass
produdion and artworks. Ceramic design service also
available. Contact Somchai T: 02 9703 2557;
M: 0401 359 126; E: eatandclay@gmaii.com
OPPORTUNITIES
PAN GALLERY
Pan Gallery is a Melbourne exhibition space encouraging the
creation and presentation of innovative ceramic artworks.
Representing a balance of emerging and established artists,
Pan Gallery accepts proposals to exhibit throughout the year.
142 - 144 Weston Street Brunswick East VIC 3057
E: pangallery@bigpond.com; www.northcotepottery.com.au
THE BIG SMOKE, AUCKLAND 2011
New Zealand Ceramics Conference is to be held in
Auckland. 1 - 3 April, 2011 with demonstrations, keynote
addresses and workshops by international and national
guest artists. See www.thebigsmoke.unitec.ac.nz. Invitations
are now open to artists and academics to take part by
submitting a paper http://www.unitec.ac.nzlunited
conferenceslthe-big-smokelenlcalJ-for-papers.dms
110 THE JOURNAL Of AUSTRALIAN CERAMICS NOVEMBER 2010

Classifieds
PHOTOGRAPHY
CHRISTOPHER SANDERS PHOTOGRAPHY
Photo documentation of artists' and
collectors' works at competitIve rates;
contact Chris Sanders. T: 04 I I 489 680
www.chnstophersanders.zenfolio.com
GREG PIPER IMAGING SOLUTIONS
Providing craft artists with digital and traditional photography,
including graphic design to print or electronic media.
Associate AIPP (Australian Institute of Professional
Photographers). Over 30 yrs experience in various advertising.
corporate and government projects. Drummoyne NSW
2047 Australia; T: +61(0)29181 1188 M: 0411 107744
E: greg@gregpiper.com.au; lNWW.gregplper.com.au
PLINTHS
PLINTHS MADE TO ORDER
Affordable. designed for strudural integrity. lightweight;
also for hire. Roger Fenton, St Ives, NSW
T: 02 94888628; F: 02 94401212; M: 0417 443 414
WORKSHOPS I SEMINARS
HOT TO POT WORKSHOPS at Moonshill. Tarago
(or. Goulburn)
4 February 2011 (Tues): Tutorial Tuesdays recommence,
evelY Tuesday lOam - 2pm, S8.80; 27 February 2011
(Sun): The Textured Surface - sprigs, stamps. stretching and
more; S88; 10 April 2011 (Sun): Raku Style for EvelYone
- rapid firing. something for every taste; $88; studio gallery
open Tues and Sun, lOam - 3pm; bookings essential for
workshops; contact Jane TIF: 02 6161 0806; E: janecnck@
dodo.com.au, www.janecrick.netflrms.com
STURT SUMMER SCHOOL
Tues 4 - Sun 9 January, 2011
Join our famous Summer School and 'get creative' In the
holidays. Hundreds of like-mmded people enjoy our magical
cool-climate campus and share 25 different courses across
an art forms. plus dedicated courses for young people; For
further information, T: 02 4860 2083 or go to WWW.sturt.
nsw.edu.au
THE BIG SMOKE, AUCKLAND 2011
New Zealand Ceramics Conference is to be held In
Auckland, 1- 3 April, 2011 with demonstrations, keynote
addresses and workshops by international and national
guest artists. See www.thebigsmoke.unitec.ac.nz. Invitations
are now open to artists and academics to take part by submitting
a paper httpJJ\.vww.unitec.ac.nzJuniteclconferencesl
the-big-smokelenlcall-for-papers.dms
THROWING + GLAZES + FIRING CLASSES
Classes for beginners to advanced with Gary Healey;
clay/projeds chosen to suit skill levels; Balwyn, Victoria;
TIF: 03 9816 30 1 2; E: ashglazes@gmail.com
WORKSHOP ARTS CENTRE WILLOUGHBY
CeramICs classes, day & evening, Monday to Friday,
weekend & holiday workshops; Teaching artists: Barbara
Campbell-Allen, Kwirak Choung & Petra Svoboda. Beginners
and advanced students welcome. New class starts 30 July:
Slip-casting & Mould-Making with Petra Svoboda, Fridays,
lOam - 1 pm. Workshop Arts Centre 33 Laurel Street,
Willoughby NSW 2068. T: 02 9958 6540
E: admin@Workshoparts.org.au; www.workshoparts.org.au
AUSTRALIAN GALLERY DIREaORY
INNER CITY CLAYWORKERS GALLERY CO-OP LTD
ThiS well established co-operative is run by a group of profesSIonal
potters and ceramIC artists. For Information about
upcoming exhibitions, membership and the hiring of the
gallery space go to VII\-\W.clayworkers.com.au
Cnr St Johns Rd and St Johns Rd Glebe NSW 2037
TIF: 02 9692 9717; www.clayworkers.com.au
KERRIE LOWE GALLERY
29 Oct - 16 Nov: Life in a Nutshell, 3D and 20 work by
Australian Society of Miniature Art; 26 Nov - 24 Dec. Xmas
Show with gallery artists; gallelY closed 25 Dec - 17 Jan;
18 Feb - 8 Mar: The Mardi Gras Float that Ate Newtown
with Janice Raynor. Kay Alliband and Kerrie lowe.
Mon to Sat, lOam - 5.30pm I Thurs untl17pm
49 King St, Newtown NSW 2042; T 02 95504433
E: lowekerrle@gmail.com; www.kernelowe.com
NATIONAL EDUCATION DIREaORY
CANBERRA SCHOOL OF ART
Apphcatlons are invited for Graduate Certificate, Diploma or
Masters study. The programs are open to those with Qualifications
ranging from TAFE to Bachelor level. Programs involve
both theoretical and practical courses, some delivered
in one week intensives; for some courses, external study can
be negotiated. In 2011 an intenSive course will be held in
China. http://soa.anu.edu.aulpostgraduate-programslcoursework-degrees;
Contact Graduate Convenor Patsy Hely.
E: patsy.hely@anu.edu.au; http://soa.anu.edu.aulceramics
CRICOS Provider #OO120C
CHISHOLM INSTITUTE, VlaORIA
The Diploma of Ceramics is a skills-based course delivered
by specialist staff in a well resourced studio. Studies in
all aspects of ceramic process and design, and first hand
experience With firing a wide variety of kilns. as well as
diverse arts bUSiness strategies, provide students with
a solid foundation from which they can bUild careers as
independent arts practitioners. Contact Judith Roberts.
T: 03 92 I 2 5398; E: judith.roberts@chisholm.edu.au
HOLMESGLEN TAFE
Holmesglen Chadstone Campus: Oiploma of Ceramics
The scope and vision of our Diploma of Ceramics Course at
Holmesglen is to prepare students for a career in ceramic
art. We provide a professional, well equipped studio environment
and the staff are recognized, practising artists. Our aim
is to inspire individual development and encourage ongoing
levels of inquiry.
Kim Martin, Course Coordinator of Ceramics and Visual
Arts, T: 03 95641942; www.holmesglen.edu.au
LA TROBE UNIVERSITY BENDIGO CAMPUS
Ceramics as a major study is offered on the Bendigo campus
in the Bachelor of Visual Arts course at La Trobe Visual Arts
& Design. Honours is offered to high achieving students
wishing to develop their practice to an advanced level.
allowmg entry into post graduate Masters or PhD by
research within ceramics.
Contact Tony Conway, T: 03 S444 7217
E: a.conway@latrobe.edu.au
THE IOURNAL OF AUSTRALIAN CERAMICS NOVEM8ER 2010 111

Classifieds
NATIONAL ART SCHOOL. SYDNEY
Ceramics Courses 2011: BFA (Ceramics) - 3 years full time;
BFA Honours - 1 year fuU time; MFA (Ceramics) - part lime
or full time. Public Programs 2011 : Summer School,
10 - 14 January: Cameron Wilhams - A Week on the
Wheel; Jenny Orchard - Animals of Fire and Imagination;
Short Courses Semester I, Saturdays lOam - 4pm,
5 sessions commencing 28 February: Kwi-Rak Choung­
Wheel Forming; linda Seiffert - Hand-Built Ceramics. The
CeramICS Dept also maintains an artist in residence program,
International exchanges and visiting artists.
Contact Merran Esson, T: 02 9339 8744;
Forbes Street, Darllnghurst NSW 2010.
RMIT UNIVERSITY, MELBOURNE
Introducing a new course structure in 2011. Contemporary
3D concepts in ceramics including sculpture, mixed media,
jewellery, architectural ceramics and design studies.
SA Fine Art (full-time); Post-Graduate Studies by Research
and Coursework (full-time & part-time)
Contact: Sally Cleary, T: 03 9925 3865
E: sally.cleary@rmit.edu .au; WNVV.rmit.edu.au/art
TAFE NSW - NORTHERN SYDNEY INSTITUTE
Hornsby and Northern Beaches College oHer accredited
qualifications from Certificate to Advanced Diploma levels as
well a5 short specialist programs for both the beginner and
advanced ceramicists. For more information,
E: nsi.ceramlCs@tafensw.edu .au. For general course and
program enquiries call 131 674 or go to
YVV\IW.nsi.tafensw.edu.au
TAFE NSW - SYDNEY INSTITUTE, GYMEA
Certificate and Diploma courses in ceramics - full and
part·time attendance; now offering Advanced Diploma
online. Cnr Kingsway and Hotham Road, Gymea NSW
T: 02 9710 5001; F: 02 9710 5026
www.sit.nsw.edu.auJceramicslgymea
TAFE NSW - HUNTER INSTITUTE, NEWCASTLE
Offers Ceramic Diploma, full time, and Certificate IV, full and
part-time. AU aspects at ceramics included (practical/techni·
(aI/theory/exhibitions). Staff are practising ceramicists. The
Newcastle Art School campus has well equipped studios and
a gallery on site. It is located in Newcastle's cultural precinct
and within walking distance to seven other galleries.
Contact Sue Stewart E: 5ue@ceramicartist.com.au or
Christina Sykiotis T: (02) 4929 0333
TAFE NSW - NORTH COAST INSTITUTE, LISMORE
CertifICate, Diploma and Advanced Diploma Courses in
Ceramics. Courses require application.
Enquiries: John Stewart T: 02 6623 0218
E: john .stewart@tafensw.edu.au
Contnbutions on all aspects
of Austrahan ceran-lies are
welcome
-~
We prefer antCles to be
supplied digitally on a diSC or
byomoll.
PhDta;e ..
Photographic material may
be suppJted in the form of
transparencies. prints or
dfQltally. as high resolutJOn
IJOOdpi) images. Please
supply dogltal omages on a
disc. Further photographIC
reqUirements are available
on request. Of go to www.
austratianceramies.eom and
go to the 'Form Downloads'
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The Australian National University
Ceramics Workshop
Cathy Franzi (MVA candidate), Swamp Honey Pat - watering can, 'Endangered' series
Photo: Stuart Hay, ANU Photography
Applications are invited for Graduate Certificate, Diploma or Masters study. The programs are
open to those with qualifications ranging from TAFE to Bachelor level. Professional experience
may be taken into account. Programs involve both theoretical and practical courses, some
delivered in one week intensives; for some courses, external study can be negotiated. In 2011
an intensive course will be held in China.
http://soa.anu.edu.au/postgraduate-programs/coursework-degrees
Contact Graduate Convenor Patsy Hely
patsy.hely@anu.edu.au
http://soa.anu.edu.au/ceramics
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p. 61 29181 11 88 · m. 61 (0) 411 107744
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(;UOCtCOJIIC GAI.l.f •• Y
Opening Saturday 11 December 2010, 11 am - 1 pm
Friday 10 December 201 0 - Monday 31 January 2011
Guest Curato r: Vicki Grima
TIME + PLACE: Australian studio ceramics 2010
Ros Auld, Mollie Bosworth, Stephanie James-Mantann, John Mawhinney, Karen
Miliar, Sophie Milne, Aleiela Pullar, Tania Rol land, Brenton Saxby, Avital Sheffer,
Pam Sinnotl, Andrew Widdis, Yuri Wiedenhofer.
Cudgegong Gallery 102 He rbert St, Gu lgong NSW 2852
Open 7 days, l Oam - 5pm T: 02 6374 1630 www.cudgegonggallery.com.au

Studio-based courses
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Wheelwork Tableware
Handbuilding Sculpture
Contemporary Installation
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Raku & Woodfiring
CERAMIC
DESIGN
STUDIO
www.sit.nsw.edu.au/ceramics/gymea
Dianne Brock
lindsay Leckey
CnrThe Kingsway & Hotham Road
Gymea NSW 2227
Tel: (02) 97105001 Fax: (02) 97105026
Marian.HoweI12@det.nsw.edu.au
Photography: Stephen Cummings
INSTITUTE

CERAMIC STUDY
GROUP Inc.
Ceramic Study Group Inc
Annual Summer Workshop
Tutor: Rowley Drysdale
Non-participatory
Sunday 27 February 2011
Powerhouse Museum, Sydney
Bookings are essential.
T: 02 9416 9822,0298692195
www.ceramicstudygroup.org.au
Gaya Ceramics Centre, Ubud, Bali
co-ordinated by The Australian Ceramics Association
13 - 26 March 2011 Textures and Textiles
Group leader - Sue Buckle; Instructor - Hillary Kane
Suitable for all levels
Cost USD $2200 (land content only)
3 - 16 July 2011 Finding Centre: Wheel Throwing + Yoga
Group leader - Vicki Grima; Instructors - Hillary Kane
and visiting yoga instructor(s); Suitable for all levels
Cost USD $2300 (land content only)
Contact The Australian Ceramics Association for more information
or to express interest.
T: 1300 720 124 E: mail@australianceramics.com

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Northern Beaches College
154 Old Pittwater Road, Brookvale NSW 2100
For more information about the ceramics training facilities
and services available, email nsi .ceramics@tafensw.edu.au
For general course and program enquiries:
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Public Programs 2011
Summer School : 10-14 January
Cameron Williams
A Week on the Wheel
Jenny Orchard
Animals of Fire and
Imagination
Semester 1 Short Courses
Saturdays 10am-4pm
6 weeks beginning 5th March
Kwirak Choung
Wheel Forming
Linda Seiffert
Hand Built Ceramics
Bachelor of Fine Art (Ceramics) 3 years full time
BFA (Honours) 1 year full time
Master of Fine Art (Ceramics) part time or full time
The Ceramics Department also maintains an artist in
residence program. international exchanges and visiting
artists.
SY DNEY · A USTRA LIA
FORBES STREET. DARLINGHURST
NSW 2010 AUSTRALIA
T: 02 93398744
Contact: Merran Esson
www.nas.edu.au

Contents
Volume 49#1
April 2010
S16
Cover
Photo: Owen Rye
The Journal of Austrahan Ceramici
Dates of PublicatIOn
1 April, 17 July, 20 November
PublIsher
The Australian Ceramics AssociatK)n
PO 80l( 274 Waverley NSW 2024
T- 1300 720124_ F 0293693742
E. ma,lOaustrahanceramKS,com
INWW.austrailanceramlCS.com
ABN 14001 53 5 501
lSSN 1449-17SX
Editor
Vicki Gmna
Market ing and Promotions
Carol Fraczek
Design
Astrid Wehling
INWW,clslncMIehl1l1g com au
Subscriptions Manager
Ashley McHutch,son
Proofreader. content
Suzanne Dean
Printed in Australia by
Nevvstyle Pnntlng, SA
State Representatives
ACT: Jane Crick
lanecrid:@dodo.com
FNO: Lone While
lone@tpg.com.au
SEQ: lyn Rogers
fomeo--whiskVCbigpond com
NSW: SUE.' Slewart
stewpot@hotkeynetau
SA: Stephen Bowers
stephen,bow-ersO/

Editor Vicki Grima
Talk about passion! Read this issue and I'm sure
you'll understand what I mean. Those potters who
wood-fire, more often than not, live out of the big
cities where they have space to build kilns, local
clay to dig, fuel to collect and time to dedicate to
the pure practice of wood-firing. Although some
lump them together in a group called wood-firers,
our guest-editor Rowley Drysdale has collected
stories which cover a diverse and interesting range
of views. Thanks Rowley for leaving your personal
touch on this issue.
Our technical feature on lustre is timely because
as this issue goes to print, a dozen potters will
be gathering at Lue Pottery for Bob Connery's
inspiring lustre workshop. Experimenting with the
alchemy of reduced lustres has long been Bob's
passion, so with the articles presented in this
issue, and more online, I hope you will be inspired
to explore further yourself.
Over the last few months I have had a wonderful
time meeting potters in WA, QLD and VIC.
I have been reminded many times how valued
this national magazine is to those spread around
the country in studios, workshop spaces and small
businesses. I hope their passion, and mine, comes
across on these pages. It's a two-way street.
I am very privileged.
~.
1 Vicki teaching Petite PreCIous Porcelain workshop at Central TAFE Perth 2 Sandra Black in her studio
3 Afternoon tea with Karen Millar and Fleur Schell at Soda in Fremantle 4 Ian MacRae in his new pottery workshop,
Denmark WA 5 Andrea Vinkovic at Central TAFE 6 Vicki With Ian Dowling at his workshop. Margaret River WA
7 Bill Meiklejohn from Willyabrup Dreaming StudiO in Margaret River WA 8 Robyn lees demonstrating at the Old Butter
Factory in Denmark WA
2 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2010

PRO
•••••
A special event to mark the 50t h Anniversary ofThe Journal of Austra lian Ceramics
Manly Art Gallery & Museum
2 December 2011 - 22 January 2012
Michael Keighery is curating an exhibition to mark the 50th anniversary of The Journal of
Australian Ceramics (JAC). This special event will involve a small number of ceramicists whose
work has been promoted over the last decade in the National Education Pictorial Survey. The
survey appears annually in JAC and features graduate students from educational institutions
around Australia .
A blog will also be set up prior to the exhibition to allow the exhibitors and ot hers to talk
about how JAC has functioned as a source of research material to inform the aesthetic,
technical and philosophical dimensions of their ceramic work. The blog will continue to
operate during the exhibition and will serve as lasting documentation of the show, as well
peoples' thoughts on the impact JAC has made on the Australian cultural landscape.
The exhibition at Manly Regional Art Gallery will focus on how The Journal of Australian
Ceramics (and previously Pottery in Australia) has been, and continues to be, used as a tool for
the professional development of Australian ceramicists.
Curator: Michael Keighery is an artist living in the Illawarra Region of NSW. He is a graduate
of Sydney College of the Arts and was, for some years, a Senior Lecturer at the University
of Western Sydney. From 1998 until 2005, Michael was Chair of NAVA and has served on
the Boards of many arts organisations including past Chair of Viscopy and several years as
President of the Crafts Council of Australia. As an artist. Michael is primarily an object maker
whose current practice has included performance, video and photographic work. More
recently, Michael has executed a number of public artworks in the Wollongong area of NSW.
He has exhibited widely around the world and his work is included in the collections of many
private and public collections, including the Australian National Gallery.
Selection: Michael will be selecting the exhibitors from images in JAC. He will then be
writing to possible exhibitors in December 2010. Work will be selected so as to highlight the
diversity of ceramic work being produced by recent graduates in Australia.
Stay tuned for more information on this exciting event in upcoming issues of JAC.
The Journal of Australian Ceramics
PO Box 274 Waverley NSW 2024 T: 1300720124 www.australianceramics.com

THE
NARRATIVE KNOT
stories in ceramics
The Australian Ceramics Association's Biennial Exhibition 2011
Manly Art Gallery & Museum
2 December 2011 - 22 January 2012
Curator: Gerry Wedd
CALL FOR PROPOSALS
Since it's very beginnings, ceramics (and pots in particular) have been carriers of stories. From Greek
pottery to Grayson Perry, potters and painters have used the ceramic surface as a vehicle for storytelling.
A vessel has no beginning and no end, but an endless revolving surface that makes it ideal to use to tell tales.
Narratives come in (and on) different forms. All objects have stories to tell and some tell stories. The effects of
flame and glaze on a fired surface tell the sometimes dramatic story of the making, the firing and the maker.
Some makers choose to write and draw stories on the surfaces of their work. Narrative works don't
necessarily provide us with a beginning a middle and an end, but a series of clues that we can piece together.
As curator, my interest is in work that has narrative content, whether it is overt or covert, conceptual or
concrete. The idea of the 'narrative knot' implies interlocking or interweaving stories of (and about)
making, as well as works that tell other stories.
Now, I know that everyone has a story in them.
Do you or your work have a story to tell?
Is the narrative explicit or implicit?
Practitioners (potters, sculptors, ceramicists etc.) are invited to submit proposals for
'The Narrative Knot: stories in ceramics'.
Please send an outline of your proposal! rationale (100 - 150 words), a disc with 3 - 5 images of
related work and a current l-page Cv.
Applications close: 28 February 2011 Artists notified: 1 April 2011
Exhibition dates: 2 December 2011 - 22 January 2012
Please post proposal packages to: Gerry Wedd, The Australian Ceramics Association
PO Box 274 Waverley NSW 2024
Selected artists will receive $100 participants fee.
Exhibitors must be financial members of The Australian Ceramics Association.

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