The Journal of Australian Ceramics Vol 49 No 3 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for historical references.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