The Journal of Australian Ceramics Vol 50 no 1 April 2011

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Contents<br />

<strong>Vol</strong>ume <strong>50</strong>/1<br />

<strong>April</strong> <strong>2011</strong><br />

516<br />

Front and back cover<br />

Juz Kitson, Untitled Heart<br />

stoneware day and flocking<br />

(eduction~fired<br />

h.37cm, w 28cm. d.2 1cm<br />

Photo: Jennifer l eahy, siJversalt<br />

<strong>The</strong> <strong>Journal</strong> 01 <strong>Australian</strong> <strong>Ceramics</strong><br />

Dates <strong>of</strong> PublicatIOn<br />

1 <strong>April</strong>, 17 July. 20 November<br />

Publisher<br />

<strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> AsSOCiation<br />

PO Box 274 Waverley NSW 2024<br />

T; 1300 720 124<br />

F: 02 93693742<br />

marl@australianceramics.com<br />

\/VVYW.aus1raliaoceramics.com<br />

ABN 14 001 53 5 <strong>50</strong>2<br />

ISSN 1449-27SX<br />

Editor<br />

Vicki Grima<br />

Guest Editor<br />

Robyn Phelan<br />

Marketing and Promotions<br />

Carol Fraczek<br />

Design<br />

Astrid Wehling<br />

'NVv'IN.astridwehling.com.au<br />

Subscriptions Manager<br />

Ashley McHutchison<br />

Pro<strong>of</strong>reader. content<br />

Suzanne Dean<br />

Printed In Australia by<br />

Newsty!e Printing. SA<br />

State Representatives<br />

ACT: Jane Crick<br />

janecrick@dodo.com<br />

NSW: Sue Stewart<br />

stevvpot@hotkey.net.au<br />

OLD FAR NORTH: lone White<br />

Ione@tpg.com.au<br />

OLD Sf : lyn Rogers<br />

romeo-whisky@bigpond.com<br />

SA: Kirsten Coelho<br />

kanddCchariot.net.au<br />

lAS: Neil H<strong>of</strong>fman<br />

neilh<strong>of</strong>fman@woodfiretasmania.com.au<br />

ViC : Glenn England<br />

glennengland@optusnet.(om.au<br />

WA: Pauline Mann<br />

pandpm@westnet.(om.au<br />



4 NOW + THEN<br />




10 Shiga Shigeo, by Damon Moon<br />

11 Paul Soldner, by Damon Moon<br />


12 Prue Venables speaks about Terence Bogue<br />


14 Slippage Kate Dunn explores the use <strong>of</strong> ceramics in public art<br />


20 Guest Editor: Robyn Phelan<br />

21 <strong>The</strong> Wonder <strong>of</strong> Juz Kitson's Curiosities Prue Gibson investigates<br />

26 Flogging It Dee Taylor-Graham and Jan Guy take a role in the<br />

performative mud<br />

31 Case Histories How museum displays have influenced the recent work <strong>of</strong><br />

Stephen Benwell<br />

35 <strong>The</strong> Divine Potter Damon Moon on ceramics and the body<br />

39 Of Depth and Shadows Inga Walton considers the works <strong>of</strong> Kris Coad<br />

43 Dancing w ith Clay Ingrid Weisfelt on the Feldenkrais method<br />

46 Shimmer and Shine Lindy Allen examines ochres in Aboriginal art<br />

<strong>50</strong> Q & A: Thinking about Ceramic Jewellery<br />

Thoughts and experiences <strong>of</strong> turning clay into wearable objects<br />

56 Body and Clay Lucille Nobleza<br />


58 <strong>Ceramics</strong> at RMIT University Sally Cleary takes a look at the past, the<br />

present and the future<br />


62 VIEW 1: <strong>The</strong> South <strong>Australian</strong> <strong>Ceramics</strong> Award 2010 An overview by<br />

Stephen Bowers<br />

66 VIEW 2: <strong>The</strong> Enigma <strong>of</strong> the Humble Teapot June Cummings reports<br />

68 WORKSHOP: Getting a Handle on Findings for Ceramic Jewellery<br />

Jeweller Roseanne Bartley discusses the principles <strong>of</strong> findings<br />

72 PROCESS + MEANING 1: From One Place to A<strong>no</strong>ther: Lugging<br />

Molecules Fiona Fell reveals practice, collaborations, and throwing babies<br />

out with bath waters<br />

76 PROCESS + MEANING 2: Concept and Competition Sophie Milne talks<br />

with Kim Brockett and Anita Cummins about the process <strong>of</strong> curating<br />

80 INSIDE MY STUDIO: In Conversation w ith Klaus Gutowski<br />

84 CERAMIC SPACES: Precious Moments and Pure Work<br />

Katie Jacobs discusses Arts Project Australia<br />

88 EVENTS 1: Banquets, Warriors, Young Guns and Banter<br />

Andrei David<strong>of</strong>f reports on his experience at ICMEA 2010<br />

92 EVENTS 2: Awesome Clay at Eveleigh!<br />

94 EVENTS 3: Ceramic Relief - Artists Respond for Queensland<br />

Inga Walton reports on a recent ceramics auction<br />

96 WEDGE: Susie McMeekin<br />


98 ARCHIVE: A Farewell by Shiga Shigeo Pottery in Australia, <strong>Vol</strong> 18, No 2<br />

October November 1979<br />

101 WELL READ: <strong>The</strong> Leach Pottery 1952 DVD, by Gwyn Hanssen Pigott<br />



•<br />

Editor: Vicki Grima<br />

ICMEA 2010, international conference<br />

participants on a visit to Chen Lu pottery<br />

village, near Xi'an, China.<br />

Last year ended with a literal loud bang in China! ICMEA 2010 was once again a feast <strong>of</strong> ceramics,<br />

food and fireworks, which Andrei David<strong>of</strong>f from Melbourne has captured in an article on page 88. An<br />

e<strong>no</strong>rmous flood <strong>of</strong> entries for <strong>The</strong> Narrative K<strong>no</strong>t (TNK), TACA's biennial exhibition for <strong>2011</strong> will keep<br />

curator Gerry Wedd busy for the next few weeks as he sorts through the pile. Preparations have also<br />

begun for PROmotion, a blogging project and exhibition curated by Michael Keighery to be held at<br />

Manly Art Gallery and Museum at the same time as TNK . This exhibition will herald the start <strong>of</strong> the <strong>50</strong>th<br />

anniversary celebrations <strong>of</strong> <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong> in 2012. Fifty years <strong>of</strong> continuous<br />

publication is a wonderful achievement and a credit to our supporters (you) and the committees, editors,<br />

advertisers, educational institutions and galleries who have played, and continue to play, their part in<br />

making this publication an important part <strong>of</strong> the studio ceramics community in Australia. See page 128<br />

for an exciting an<strong>no</strong>uncement about <strong>The</strong> Trudie Alfred Bequest, a generous gesture by a special lady to<br />

assist students in their study <strong>of</strong> ceramics.<br />

This issue has been stimulating to put together with Robyn Phelan, an active participant in the<br />

Melbourne ceramics community. <strong>The</strong> involvement <strong>of</strong> guest editors from interstate, Andrea Vinkovic from<br />

WA, Rowley Drysdale from OLD and <strong>no</strong>w Robyn Phelan from VIC, sparks conversations with those we<br />

may <strong>no</strong>t <strong>no</strong>rmally hear from. In this issue jeweller Roseanne Bartley, dancer and choreographer Ingrid<br />

Weisfelt and Lindy Allen, a curator from Melbourne Museum, toss us some thought-provoking issues to<br />

consider about the interactions between ceramics and the body.<br />

Kate Dunn also features up front in this issue with an intriguing article on page 14 about the<br />

possibilities for ceramics in the big wide world <strong>of</strong> public art. I like Kate's use <strong>of</strong> the term "slippage"<br />

to suggest that moving away from an original or secure place may open up the possibilities if we look<br />

outside the ceramic world and collaborate with others; an article to get you thinking.<br />

As we go to print, the news <strong>of</strong> the death <strong>of</strong> Bernard Sahm, a<strong>no</strong>ther ceramic artist who had a<br />

wonderful impact on ceramics in Australia, has come into the <strong>of</strong>fice. In marking the passing <strong>of</strong> Shiga<br />

Shigeo and Paul Soldner in short tributes in this issue, I once again consider how diverse our ceramic<br />

history has been in Australia.<br />

I hope you will join us in this exciting year ahead, to celebrate the diversity <strong>of</strong> ceramic practice in<br />

Australia .<br />


-------------------------------------------------------------------------------- --<br />

Contributors<br />

Andrei David<strong>of</strong>f is a ceramics-based artist,<br />

occasional w riter, intermittent curator,<br />

pedantic gallery technician, c<strong>of</strong>fee nazi, and<br />

all round fly-by-the-seat-<strong>of</strong>-your-pants kinda<br />

guy who believes bigger is always better. He<br />

is currently completing his masters at RMIT,<br />

researching the eternal struggle between<br />

wood, gas and electricity_<br />

E: andrei.david<strong>of</strong>f@gmail.com<br />

T: 0412 433 135<br />

www.andreidavid<strong>of</strong>f.com<br />

See pages 88-91<br />

Prue Gibson worked at the Art Gallery <strong>of</strong><br />

NSW before becoming a freelance writer<br />

for <strong>Australian</strong> Art Review, <strong>Australian</strong> Art<br />

Collector. Art Monthly: Limelight. Artist<br />

Pr<strong>of</strong>ile, Asian Art News and Vogue. Her<br />

fiction and <strong>no</strong>n-fiction have been published<br />

in Etchings, Heat, and Antipodes, and<br />

broadcast on ABC's Life Matters. Her new<br />

art book is <strong>The</strong> Rapture <strong>of</strong> Death.<br />

www.boccalattemakebooks.com/death<br />

E: pandmgibson@bigpond.com<br />

See pages 21-25<br />

Sophie Milne is a ceramic artist, gallery<br />

manager, teacher and blogger. It's all about<br />

clay and she enjoys every aspect. Each <strong>of</strong> her<br />

roles informs the other and makes her life as<br />

a potter inspiring, challenging and intriguing,<br />

<strong>of</strong>ten simultaneouslyl<br />

www.sophiemilne.com.au<br />

See pages 76-79<br />

Dr Damon Moon is a potter and writer<br />

based in Willunga, South Australia. As<br />

well as contributing regular articles to<br />

<strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>, he<br />

occasionally finds time to make some pots.<br />

http://damonmoon.com<br />

See pages 10, 11 and 35-38<br />


Now + <strong>The</strong> n<br />

-------- -- --------<br />

Congratulations to Jeff M incham from<br />

South Australia .<br />

Jeff was awarded Member (AM) in the General<br />

Division <strong>of</strong> the Order <strong>of</strong> Australia for service to<br />

the visual arts as a ceramic artist, to a range <strong>of</strong><br />

contemporary craft organisations, and to the<br />

community <strong>of</strong> South Australia.<br />

Jeff is a ceramic artist who established, and<br />

was head <strong>of</strong>, the <strong>Ceramics</strong> Workshop at the<br />

JamFactory in Adelaide for five years. His work is<br />

represented in more than 100 public and private<br />

collections in Australia and overseas.<br />


GOLDENINK: A printmaking and jewellery duo,<br />

Goldenink consists <strong>of</strong> Abby, a printmaker, and<br />

Katherine, a gold and silversmith . <strong>The</strong>y create<br />

exciting one-<strong>of</strong>f jewellery and home wares,<br />

primarily made from hand-painted porcelain<br />

and silver with subtle detail and tactility. <strong>The</strong>ir<br />

porcelain jewellery range consists <strong>of</strong> rings,<br />

earrings, bangles, brooches and necklaces.<br />

Check them out here: www.goldenink.com.au<br />

A Bit <strong>of</strong> Clay on the Skin:<br />

New Ceramic Jewellery<br />

15 March - 4 September, <strong>2011</strong><br />

Museum <strong>of</strong> Arts and Design, 2 Columbus Circle<br />

New York USA; http://madmuseum.org<br />


Ceramic Competitions Around the Globe<br />

Tracey Mitchell, a ceramic artist from Mittagong<br />

NSW, is <strong>no</strong>w compiling a list you are sure to find<br />

useful: Ceramic Competitions Around the Globe.<br />

Go to www.australianceramics.com and click on<br />

the link 'Ceramic Competitions' for all the latest<br />

information.<br />

Here's a few to get you going:<br />

<strong>The</strong> John Fries Memorial Prize Exhibition<br />

February 2012, Sydney NSW<br />

Entry Deadline: 25 May <strong>2011</strong><br />

www.viscopy.org.au/current-exhibition<br />

<strong>The</strong> Meroogal Womens Art Prize<br />

August <strong>2011</strong>, Nowra NSW<br />

Entry Deadline: 18 July <strong>2011</strong><br />

www.hht.net.au/museumslmeroogal<br />

<strong>The</strong> Manning Art Prize<br />

September <strong>2011</strong>, Taree NSW<br />

Entry Deadline: 12 August <strong>2011</strong><br />

www.fogsmanningvalley.com.au/the-manning-artprize<br />

Vale: Paul Soldner, ceramic artist<br />

Died 3 January <strong>2011</strong> in Claremont, California<br />

aged 89<br />

Vale : Shiga Shigeo, potter<br />

Died 12 February <strong>2011</strong> in Sydney, aged 82<br />

Vale: Bernard Sahm, ceramic artist<br />

Died 27 February <strong>2011</strong> in Sydney, aged 84<br />


<strong>Australian</strong> <strong>Ceramics</strong> Directory<br />

<strong>Australian</strong> <strong>Ceramics</strong> Directory<br />

Add Ent[V<br />

Elisa~<br />

Collaroy Plateau NSW 2097<br />

E: elisa@pfp.net.au<br />

My work represents what I am thinking about at<br />

anyone time. I am <strong>no</strong>t dedicated to a particular<br />

technique or glaze; instead I roam about using<br />

what 'feels right' for that particular body <strong>of</strong><br />

work. I am quite partial to raku - the thrill <strong>of</strong><br />

lifting the kiln lid and manipulating a 'red hot'<br />

piece, <strong>of</strong> never being completely certain <strong>of</strong> the<br />

outcome, always thrills and leaves me wanting<br />

more.<br />

Terry Oavies<br />

Christies Beach SA 5165<br />

E: mandersshaw@yahoo.co.uk<br />

www.terrydaviesceramics.(om<br />

My work predominantly involves mytho·poetic narratives<br />

that encompass biD-regionalism, area·specific art, custodial<br />

aesthetics, phe<strong>no</strong>me<strong>no</strong>logy and coastal pastoral. I intend my<br />

work to be viewed as celebratory, as visual conclusions that<br />

<strong>of</strong>ten amalgamate terrain, fauna and people . Perhaps some<br />

would consider this esoteric and the archaic outlook <strong>of</strong> a<br />

Neo Primitive ... so be It. I w ish to express a belief originally<br />

espoused by Roger Caldwell, that in this age <strong>of</strong> science and<br />

tech<strong>no</strong>logy, it is imperative to tell stories about what it is to be<br />

human. My creations attempt to do that.<br />

Lucie McCann<br />

Sunshine Beach QLD 4567<br />

E: luciemccann@bigpond.com<br />

London·born artist Lucie McCann has a pasSion for getting her<br />

hands dirty. From a successful career in furniture design and<br />

homewares retailing, Lucie branched into ceramics following<br />

her move to Australia. McCann's series <strong>of</strong> animal heads<br />

harness a strong set <strong>of</strong> contradictory emotions.<br />

<strong>The</strong>y are imbued with ancient <strong>no</strong>tions <strong>of</strong> power and status, but<br />

they also engage with our changing relationship with animals.<br />

<strong>The</strong> heads are made from stoneware or white raku clay, with a<br />

porcelain slip or a black under-glaze.<br />

http://australianceramics . comlhomeli ndex. phpf Aust -<strong>Ceramics</strong>-Oi rectory 1<br />


Tribute<br />

Vale Shiga Shigeo 1928 - <strong>2011</strong><br />

With the passing <strong>of</strong> Shiga Shigeo, Austra lian<br />

ceramics has lost a great and long-standing<br />

friend.<br />

<strong>The</strong>re will be many tributes from those who<br />

knew him intimately, and these few words are<br />

simply to ack<strong>no</strong>wledge the presence, and <strong>no</strong>w<br />

the absence, <strong>of</strong> a Zen larrikin who found, at least<br />

for a time, a second home in Australia.<br />

Photo reprinted from Pottery in Australia<br />

<strong>Vol</strong> 14, No 1, Autumn, 1975, page 5<br />

In any analysis <strong>of</strong> <strong>Australian</strong> ceramics the<br />

abiding influence <strong>of</strong> Japan is <strong>of</strong> great significance<br />

and in this singular and fascinating relationship<br />

between the two cultures the figure <strong>of</strong> Shiga is<br />

prominent. For all the hundreds <strong>of</strong> <strong>Australian</strong><br />

potters who took the 'Mashiko express' in<br />

the 1960s and 70s, Shiga was one <strong>of</strong> the few<br />

took the journey in the other direction. First<br />

in Mittagong, then in Sydney, he inspired and<br />

delighted <strong>Australian</strong> potters for the thirteen years<br />

he spent in this country. Even after his return to<br />

Japan in 1980, Shiga maintained close contact<br />

with Australia and with the many <strong>Australian</strong><br />

potters who revelled in his company.<br />

<strong>The</strong>re are many Japanese potters that have<br />

won the admiration <strong>of</strong> <strong>Australian</strong> potters, but<br />

few who came as close in spirit to this country as<br />

Shiga. From Tokyo to Terrey Hills and back again<br />

is a fair way, but it was the journey that Shiga<br />

made, and we are grateful that he did.<br />

Damon Moon<br />

Willunga <strong>2011</strong><br />

Editor's <strong>no</strong>te: In our Archive section, pages<br />

98-100, I have reprinted Shiga's farewell<br />

speech (from Pottery in Australia, <strong>Vol</strong> 18,<br />

No 2, October November 1979) given at the<br />

opening <strong>of</strong> his retrospective exhibition at the<br />

Japan Foundation Centre in August 1978 just<br />

before he returned to Japan after thirteen<br />

years in Australia.<br />


Tribute<br />

Vale Paul Soldner 1921 - <strong>2011</strong><br />

In early January <strong>2011</strong>, Paul Soldner, one <strong>of</strong> the<br />

greats <strong>of</strong> American ceramics, passed away at his<br />

home in Claremont, California. He was eightynine.<br />

Born in 1921 into a family <strong>of</strong> Midwest<br />

Men<strong>no</strong>nite Christians, Soldner's interest in art<br />

was sparked by his wartime experiences in the<br />

army medical corps, where, to quote Jori Finkel<br />

writing <strong>of</strong> Soldner in the Los Angeles Times,<br />

he saw ... "beauty emerge from terror in the<br />

form <strong>of</strong> charcoal drawings made by Holocaust<br />

victims on the barracks walls <strong>of</strong> the Mauthausen<br />

concentration camp in Austria".<br />

(Frinkel, J. Los Angeles Times 4 January, <strong>2011</strong>)<br />

In 1954 Soldner became the first graduate<br />

student <strong>of</strong> Peter Voulkos in the newly established<br />

ceramics program at the Los Angeles County<br />

Art Institute. Like Voulkos, Soldner was given to<br />

experimentation and in<strong>no</strong>vation and was also<br />

something <strong>of</strong> a showman, soon becoming what<br />

Garth Clark refers to ... "as one <strong>of</strong> the stars <strong>of</strong> the "workshop circuit".<br />

(C lark, G. Shards, p.289)<br />

Photo reprinted from<br />

Pottery in AustraUa<br />

<strong>Vol</strong> 10, No 1. Autumn<br />

1971, page IS<br />

It was during one <strong>of</strong> these workshops that Soldner famously 'discovered'<br />

his technique <strong>of</strong> 'American raku', where pots were drawn from the kiln<br />

and then 'smoked' in various ways to produce a range <strong>of</strong> effects much<br />

broader than those found in the original Japanese technique. But Soldner's<br />

oeuvre extended well beyond this, encompassing a wide range <strong>of</strong> ceramic<br />

techniques and forms.<br />

Paul Soldner was a charismatic teacher and tireless maker who came to<br />

prominence at a time and in a place when ceramics was breaking many<br />

boundaries. He continued to contribute to the development <strong>of</strong> ceramics<br />

both in the United States and on an international level throughout a long<br />

and productive life, and he will be both celebrated and missed.<br />

Damon Moon<br />

Willunga <strong>2011</strong><br />


Celebration<br />

Prue Venables. Tea Strainers<br />

2010, porcelain, hand-thrown<br />

pierced, linen thread, each<br />

h.7cm, w.7cm<br />

Photo: Terence Bogue<br />

Celebration<br />

Prue Venables speaks about Terence Bogue<br />

To me, photography is a magician's art. As if in aspic, the wonders <strong>of</strong> existence are encircled and<br />

held - and yet astonishingly, are still capable <strong>of</strong> espousing vitality and energy.<br />

A breathing organism becomes a picture, a frozen instant within a frame, a monument - confounding<br />

us as it reflects and triggers our thoughts and memories <strong>of</strong> life. In our mind's eye, motion and vitality<br />

appear to continue, the image entwining with our own familiar k<strong>no</strong>wledge to embrace time, light and<br />

vigour. A dancer stops but twirls <strong>no</strong>netheless. Storm clouds are arrested but gather still. This, for me, is a<br />

kind <strong>of</strong> magic.<br />

From my first meeting with Terence Bogue, I was entranced by his ability to identify and capture an<br />

essence <strong>of</strong> life in objects - the way that they too draw breath and hold volume and space; plus, in their<br />

material and formal qualities, speak <strong>of</strong> energy and emotion. It was wonderful to experience - to listen,<br />

observe and learn.<br />

Here there was magic at every turn as my ceramic objects were placed together, poised as if on the<br />

edge <strong>of</strong> movement or even deep in conversation. Careful questioning about glaze, surface and personal<br />

intent resulted in images so full <strong>of</strong> life that they presented me with fresh viewpoints, confronting and<br />

push ing me gently from the safe haven <strong>of</strong> my own maker's familiarity and assumptions. Early on, a<br />

particular view <strong>of</strong> a small white jug holding a sharp red pencil forced me to address my limitations and<br />

embrace new possibilities.<br />

As Terence described his own experiences <strong>of</strong> learning, I was given glimpses into a world <strong>of</strong><br />

observation where every shadow, every nuance <strong>of</strong> light and vitality is welcomed, embraced and<br />

explored, thus stimulating new opportunities for learning and discovery.<br />


Terence Bogue, On the Wings <strong>of</strong> a Dilemma, 2010<br />

Listening to Terence, I began to understand the time involved in photography - for example, in the<br />

exploration <strong>of</strong> white objects on a white background. This reminded me <strong>of</strong> the fabled language <strong>of</strong> the<br />

Eskimo where the intricate detailed characteristics <strong>of</strong> s<strong>no</strong>w also purported to require multiple possibilities<br />

<strong>of</strong> description. Similarly, the meticulous skills required prompted thoughts <strong>of</strong> the practice entered into<br />

by a singer aspiring to train their vocal instrument to colour and energise sound in the search for<br />

developing an expressive language.<br />

<strong>The</strong>re are so many similarities <strong>of</strong> endeavour here.<br />

Once, for a moment, I was myself the subject before the lens. <strong>The</strong>re was an excitement, a zest, a<br />

vivacity in those eyes behind the camera - a window into the delight that captivates all creative people.<br />

I understood then something special about the depth <strong>of</strong> investigation and wonder that drives and<br />

energises the work <strong>of</strong> Terence Bogue and which I have <strong>no</strong>w enjoyed for more than twenty years.<br />

Many have benefitted from and shared in this talent as Terence has presented their work so<br />

beautifully to the world. Careers have blossomed under his care and attention and it has been a<br />

privilege to be a part <strong>of</strong> this. May his work go from strength to strength as he <strong>no</strong>w concentrates on new<br />

directions <strong>of</strong> enquiry.<br />

Prue Venables is Creative Director <strong>of</strong> the <strong>Ceramics</strong> Studio at JamFactory. South Australia.<br />

www.tbogue.com<br />


Perspective<br />

Slippage<br />

Kate Dunn explores the use <strong>of</strong> ceramics in the design and production <strong>of</strong> public art<br />

Slippage, according to the dictionary, is the act or instance <strong>of</strong> slipping, especially movement<br />

away from an original or secure place. For ceramic artists designing works intended to be placed in<br />

the public arena, some immediate considerations come to mind - weight, kiln size, freight and weather<br />

conditions. <strong>The</strong>se factors can steer ceramic artists away from this avenue <strong>of</strong> practice, however some<br />

in<strong>no</strong>vative artists are using their ceramics skills to make models and components for much larger-scale<br />

works in a variety <strong>of</strong> materials. This opens up tremendous possibilities for inclusion in architectural<br />

projects and increases the financial sustainability <strong>of</strong> an artist's practice. Other projects start out as<br />

ceramic works intended for the gallery and transform into large outdoor works through a dramatic shift<br />

in scale and medium.<br />

Two artists who are having great success with this approach are Michael Doolan, an artist from<br />

Victoria who <strong>no</strong>w lectures at Sydney College <strong>of</strong> the Arts, and Greg Payce, an artist and academic from<br />

Alberta Canada. Both <strong>of</strong> these artists have developed techniques to overcome the physical limitations<br />

<strong>of</strong> large-scale public work and yet still retain the integrity <strong>of</strong> original smaller ceramic works. For them,<br />

ceramics is <strong>no</strong>t only an end product but also a thinking or rethinking tool in the process <strong>of</strong> creating<br />

large-scale public art. This process may also work in the reverse. Queensland artist Donna Marcus is<br />

making large-scale metal public art with an organisation called Urban Art Projects, then successfully<br />

reduCing the scale back to a gallery friendly ceramic series, which takes on nuances <strong>of</strong> its own.<br />

To examine these ideas <strong>of</strong> sliding scale and traversing mediums I spoke to the artists mentioned above<br />

to get a better idea <strong>of</strong> what is involved in their processes. While ceramic may <strong>no</strong>t be the final material<br />

<strong>of</strong> some <strong>of</strong> the outcomes, in the examples discussed here, ceramics is the instigator or stepping stone <strong>of</strong><br />

the final product.<br />

Michael Doolan<br />

Michael Doolan works across a number <strong>of</strong> mediums within a range <strong>of</strong> scales in the creation <strong>of</strong> his<br />

cutely sinister, toy-like sculptures. Some are designed for plinth appreciation while others become largescale<br />

public artworks. Regardless <strong>of</strong> the outcome, the genesis <strong>of</strong> Doolan's work is hand-formed ceramics.<br />

To make larger scale pieces, Michael has the small ceramic works 3D scanned and then fabricated in<br />

a range <strong>of</strong> materials such as polystyrene, fiberglass, polyurethane and hybridised vinyl - materials that<br />

eliminate many <strong>of</strong> the issues that you would immediately encounter were you to make works <strong>of</strong> the<br />

2-metre plus scale in ceramic. One example <strong>of</strong> this transformation is seen in his work for <strong>no</strong>w and for<br />

ever. It is a yellow doll made <strong>of</strong> polystyrene with a hard coat <strong>of</strong> polyurethane, which stands 2 metres tall<br />

and appeared in the McClelland Sculpture Survey & Award in 2007. This work was based on a scan <strong>of</strong><br />

for <strong>no</strong>w and forever (flower girl) (2007), a ceramic work that stands at a demure 29 cm high.<br />

Doolan describes his process <strong>of</strong> increasing scale as a process <strong>of</strong> "magnification", rather than simply<br />

'making it large', as with the larger scale the viewer can observe more detail. He takes tremendous care<br />

in the features <strong>of</strong> the original model k<strong>no</strong>wing that it will be magnified several times. Michael describes<br />

this process as "hyper-crafting " .<br />


1 Michael Doolan, For <strong>no</strong>w<br />

and forever (flower g;rl), 2007<br />

polyurethane and polystyrene<br />

h. t 88cm, w.168cm, d.112cm<br />

2 M ichael Doolan, Once<br />

Upon A Time, 2008, hand-built<br />

earthenware, onglaze enamel<br />

h.16cm, w.9cm, d.28cm<br />

3 Michael Doolan, Once Upon<br />

A Time, 2010, cold inflatable, vinyl<br />

h.5<strong>50</strong>cm, w.235cm, d.300cm<br />

Photos: courtesy the artist and<br />

Karen Woodbury Gallery<br />


Perspective<br />

A<strong>no</strong>ther example <strong>of</strong> work on this scale that has made a more conspicuous appearance is his piece<br />

entitled Once Upon a Time. In this work, a giant inflatable train collides with an equally giant puffy<br />

inflatable teddy bear. like so much <strong>of</strong> his art, this wild and fanciful piece incorporates Michael's<br />

signature combination <strong>of</strong> menace and magic. Michael likens his work to the stories <strong>of</strong> the Brothers<br />

Grimm, adapted by Disney, where the characters are cute and likeable, but what happens in the plot<br />

is really quite sinister. Once Upon a Time was commissioned by Craft Victoria and was suspended in<br />

Federation Square in Melbourne. <strong>The</strong> monumental scale and position causes us to reflect on this theme<br />

and understand the concepts <strong>of</strong> harmony, horror and hilarity in a big way. This is the pure power that<br />

a shift in scale can have: hatched in the mind <strong>of</strong> Michael Doolan, translated in clay, and broadcast full<br />

scale.<br />

Greg Payce<br />

Greg Payce is a Canadian artist and academic at the Alberta College <strong>of</strong> Art and Design (ACAD) who<br />

is well k<strong>no</strong>wn for his research into the Rubin vase, the cognitive optical illusion used in psychology to<br />

illustrate visual perception. <strong>The</strong> psychologist Rubin used images <strong>of</strong> vases to create this phe<strong>no</strong>me<strong>no</strong>n,<br />

however Payce uses actual beautiful hand-formed vases in his works. He <strong>of</strong>ten uses the space between<br />

the works to convey his ideas. In other works there is a more reductive approach, using the vessels<br />

to create a visual rhythm that as the eye moves between the background and foreground, gives the<br />

strange illusion <strong>of</strong> movement, like watching a flick-book animation.<br />

<strong>The</strong> scale <strong>of</strong> Payce's work, which is primarily exhibited in galleries, has shifted back and forth from<br />

conventional table-friendly vases to larger scale ceramic works. like Doolan, the challenge <strong>of</strong> push ing<br />

possibilities and making work to endure weather and public interaction has inspired in<strong>no</strong>vation. I<br />

recently visited ACAD and had a conversation with Greg about his practice and his approaches to public<br />

art from the standpoint <strong>of</strong> his practice as a ceramic artist. Greg explained that Alberta has a temperature<br />

range <strong>of</strong> minus <strong>50</strong> through to plus 40 degrees making ceramic sculpture <strong>no</strong>t viable for outdoor public<br />

work. As with Doolan, Payee begins with models in clay and then transforms and enlarges them in<br />

different ways. <strong>The</strong> piece 555555555555555, a permanent work at Calgary Airport, is made <strong>of</strong> turned<br />

bronze while Healing Garden, installed at Lois Hole Hospital in Edmonton, is fabricated in turned<br />

aluminium.<br />

More recently, Greg has been working in mediums such as video and a process called Lenticular<br />

photography and printing. This tech<strong>no</strong>logy uses a lens to produce images with an illusion <strong>of</strong> depth, or<br />

the ability to change or move as the image is viewed from different angles. Payce believes these virtual<br />

re-mediations <strong>of</strong> his ceramic forms provide unique possibilities for both dissemination and scale with<br />

the works. An example <strong>of</strong> this is the piece Pantheon, an assemblage <strong>of</strong> 45 ceramic forms, which has<br />

recently been re-mediated as a large-scale lenticular image called Pantheon VerisimiJu5.<br />

Donna Marcus<br />

This slippage:,between scale, material and audience is a concept explored by Queensland artist Donna<br />

Marcus. Here w~ watch ceramics evolve in the other direction where clay is <strong>no</strong>t at the beginning<br />

<strong>of</strong> the work, but rather an evolution <strong>of</strong> other works. Marcus recently completed a public sculpture<br />

commission with Urban Art Projects (UAP) called Delphinus for the King Abdullah University <strong>of</strong> Science<br />

& Tech<strong>no</strong>logy in Saudi Arabia. Delphinus has its origins in the humble lemon squeezer, a common<br />

domestic item, the first <strong>of</strong> which were ceramic and made in Turkey in the18th century. Marcus has taken<br />

the squeezer apart and using the ribbed dome and the perforated rim, repeated the form, and increased<br />

the scale dramatically until the work resembles a giant spherical seedpod. This trajectory <strong>of</strong> practice is<br />

consistent with Marcus' long-held fascination with small domestic items <strong>of</strong> the everyday. She takes these<br />

everyday items and drawing on the mathematics <strong>of</strong> architecture and the geodeSiC domes <strong>of</strong> Buckminster<br />

Fuller, elevates them to the status <strong>of</strong> high art through a shift in scale, context and volume.<br />

This project went on to incorporate ceramics in interesting ways. A spin-<strong>of</strong>f series <strong>of</strong> the large-scale<br />


Perspective<br />

1 Greg Payee, Passion sur Raison ou Raison sur Passion , 2008, porcelain, h.38cm, w.<strong>50</strong>cm<br />

2 Greg Payee, 555555555555555, 2003, turned bronze with paint. each element h.92cm, whole work w.458cm<br />

Calgary airport<br />

3 Greg Payee, Pantheon Verisimilus , 2007. five panels. lenticular image. w.548cm<br />


Perspective<br />

l<br />

.~ ••••<br />

!.~ ~ ~<br />

: .-: .. ~ \,<br />

~.~ ...... ..<br />

~ .,11• ... ",\.\: ..:<br />

." t\,t ' •• "" ...<br />

:.,' ~.-;<br />

public work was produced called Ascorbic. <strong>The</strong>se<br />

medium-scale pristine white ceramic pieces were<br />

intended to be shown in galleries. Designed by<br />

Marcus, Ascorbic was produced by a Melbournebased<br />

ceramics company called Unique <strong>Ceramics</strong>.<br />

<strong>The</strong> shift in scale and material brings Marcus'<br />

work full circle, with ceramics as the genesis and<br />

at the end <strong>of</strong> the process, from a large-scale<br />

monument to a domestic interior size, and from<br />

metal to clay.<br />

This is a different example <strong>of</strong> ceramic<br />

transformation when compared to the processes<br />

<strong>of</strong> Doolan and Payce. <strong>The</strong> pathways, however,<br />

overlap in that public space is considered and<br />

the object (whether it is reflective or generative)<br />

incorporates ceramics.<br />

Donna Marcus, Ascorbic, 2009, vitreous porcelain. d.67.Scm<br />

Donna Marcus, Defphinus, 2009. white bronze. King Abdullah University <strong>of</strong> Science & Tech<strong>no</strong>logy, Kingdom <strong>of</strong> Saudi<br />

Arabia; Art Management by Urban Art Projects<br />

-<br />


----- --<br />

Perspective<br />

Westfield Doncaster and Urban<br />

Art Projects<br />

UAP, the Brisbane based<br />

organisation with whom Donna<br />

Marcus worked to produce her<br />

pieces, is also helping other artists<br />

change the scale <strong>of</strong> their work<br />

by facilitating, networking and<br />

producing large-scale public works.<br />

A<strong>no</strong>ther <strong>no</strong>teworthy UAP project<br />

has been erected at Westfield<br />

Doncaster in Melbourne. When<br />

speaking about scale and public<br />

access to art, one does <strong>no</strong>t get<br />

much more public than a Westfield<br />

shopping centre. This spectacular<br />

ceramic project sees a stand <strong>of</strong><br />

beautiful, life-size trees made from<br />

steel and porcelain . <strong>The</strong> piece was<br />

commissioned by Westfield and was<br />

a joint creation <strong>of</strong> their in-house<br />

designers and Urban Art Projects.<br />

Over time there has been<br />

incredible evolution in ceramics.<br />

Its permutations and combinations<br />

are boundless and contemporary<br />

ceramic artists and organizations,<br />

such as UAP, are very aware <strong>of</strong><br />

its possibilities as both a design<br />

tool and an end product. <strong>The</strong><br />

works discussed here, while<br />

<strong>no</strong>t necessarily ceramic, are all<br />

informed by the ceramics process,<br />

which inescapably includes its<br />

history, culture and conventions.<br />

New approaches to producing<br />

public artworks incorporating<br />

ceramics processes open up<br />

exciting prospects for practitioners.<br />

<strong>Ceramics</strong> can be a way <strong>of</strong> thinking<br />

about the production <strong>of</strong> art and its<br />

Westfield Doncaster and Urban Art Projects. Doncaster Trees. 2008<br />

steel and porcelain, Westfield Doncaster; photo: Megan Ford<br />

disciplines, as shown so successfully by the artists above. Even translated to other materials, the<br />

attributes and versatility <strong>of</strong> ceramics provide the creative freedom to explore concept and design.<br />

Kate Dunn lectures at Sydney College <strong>of</strong> the Arts on a casual basis and is currently doing her<br />

Masters researching the use <strong>of</strong> ceramics in public art.<br />


------------------------------------------------<br />

Guest Editor: Robyn Phelan<br />

For my portraIt shot I have chosen to wear Melbourne<br />

jeweller Roseanne Bartley's brooch from her found<br />

Out series. I wear it <strong>of</strong>ten as a ruse, hoping to fool a<br />

potter's eye with what seems to be shards <strong>of</strong> decorated<br />

ceramics. <strong>The</strong> petals <strong>of</strong> this brooch are made from<br />

sections <strong>of</strong> a tennis bal! found on the Merri Creek.<br />

Every time I put it on I marvel at the subtle (but sturdy)<br />

steel armature that holds the brooch so firmly against<br />

my clothing,<br />

Photo: Rachel Roberts<br />

At Clay Energy in Gulgong last year, I enjoyed an energetic conversation with Vicki Grima about<br />

wearable ceramics. As a ceramicist whose passion for clay objects is closely followed by an infatuation<br />

with contemporary jewellery, I soon found myself accepting an <strong>of</strong>fer to be guest editor for this issue <strong>of</strong><br />

<strong>The</strong> journal <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>.<br />

Following that conversation I pondered the relationship between clay and the body and began an<br />

engaging few months <strong>of</strong> stimulating dialogue to tease out a rich and diverse range <strong>of</strong> articles, In this<br />

issue there are many perspectives about clay and the body from our vast and talented ceramic fraternity<br />

alongside articles where expertise is based in Indige<strong>no</strong>us museum collections and the experience <strong>of</strong><br />

supporting artists with intellectual disabilities.<br />

Jewellers and ceramicists who make wearable ceramics have an intimate k<strong>no</strong>wledge <strong>of</strong> how materials<br />

and objects engage with the body and have much to share with us. Both practices are <strong>no</strong>torious for<br />

using techniques that are physically repetitive, <strong>of</strong>ten resulting in potentially damaging work habits. <strong>The</strong><br />

article on the Feldenkrais® Method explains the physical benefits to performance artists and is avidly<br />

used by many jewellers.<br />

Vicki Grima helpfully guided me through the delicate and nuanced path that is the job <strong>of</strong> soliciting<br />

engaging articles. I am very proud <strong>of</strong> our product and have learnt a great deal along the way. I'd like to<br />

thank all <strong>of</strong> the contributors for their time, thoughtfulness and generous commitment. So, put on the<br />

kettle and enjoy this issue as much as I have enjoyed collaborating to create it.<br />

Robyn Phelan, February <strong>2011</strong><br />


Focus: Ce ra mics + Body<br />

;";' (..,-<br />

' .<br />

•<br />

Juz Kitson, It's beautiful and deadly up there, you would hate it, 2010, Southern Ice and Imperial White porcelain with<br />

wax, resin, flocking, diamond python skin, glass, lace, ink, horse and goat hair, bone, alpaca wool, natural materials, 1300°C<br />

and raku firing, h. , 40cm, w.320cm, d.' 3cm; photo: Brett East<br />

<strong>The</strong> Wonder <strong>of</strong> Juz Kitson's<br />

Curiosities<br />

Prue Gibson investigates the allure <strong>of</strong> the unnatural in nature<br />

<strong>The</strong> habit <strong>of</strong> collecting can be an obsession, <strong>no</strong>t exclusive to the human condition. Birds, squirrels<br />

and monkeys share our instinct to gather and assemble, For some <strong>of</strong> us, collecting can be a chronic<br />

preoccupation. <strong>The</strong> ritual <strong>of</strong> amassing strange, repulsive and exquisite objects from nature reflects a<br />

curious mind, a desire for answers and for the pleasurable sensation <strong>of</strong> discovery,<br />

Juz Kitson is a young artist, only two years out <strong>of</strong> Sydney's National Art School, whose work involves<br />

collecting objects then disconnecting, manipulating and re-inventing them. Southern Ice porcelain is the<br />

dominant medium for this artist who also utilises wax, bone, latex, flocking, alpaca wool and human,<br />

goat and fox hair for her installations. Her tiny detailed porcelain pieces are cluster-hung on the gallery<br />

wall in the manner <strong>of</strong> a Victorian parlour - recalling the fervent desire during that century to gather<br />

possessions into the home, in abundance.<br />

Wunderkammer, meaning 'chamber <strong>of</strong> wonder', began as a Renaissance investigation into foreign<br />

relics . Souvenirs were collected from faraway places to prove the colonial dominance (a means <strong>of</strong> empire<br />

building) <strong>of</strong> the European country. Only those with the resources and adequate scientific interest were<br />


Focus: Cera mics + Body<br />

Juz Kitson. SiJCred Cow detail, 2010. mixed media<br />

h.102cm, w.28cm, d.26cm.<br />

Juz Kitson, Connection through dissection, 2010<br />

Imperial White porcelain, wax, flocking. horse hair, 13000C<br />

redudion, h.6Ocm, w.49cm, d.22cm.<br />

Photos: Jennifer Leahy, silversalt<br />

able to send their countrymen out onto the wild seas to distant shores. That passion for collecting<br />

strange and rare objects as part <strong>of</strong> natural science has strongly influenced a host <strong>of</strong> contemporary<br />

artists, <strong>no</strong>t least Juz Kitson.<br />

So why are artists so fascinated by souvenirs from nature? It may be a way <strong>of</strong> resolving anxiety and<br />

fear about global warming and a more basic, fundamental fear <strong>of</strong> extinction. And for artists, the studio<br />

becomes a place for ritual and repetition, for contemplation and renewal. Kitson explains her pleasure<br />

in the natural world: " ... To take a leaf with translucent veins and folds as complex as a world within<br />

itself and place it out <strong>of</strong> context for aesthetic contemplation. <strong>The</strong>re is a certain disconnection and<br />

re-examination <strong>of</strong> these specimens <strong>of</strong> nature ... laid out in front <strong>of</strong> us for interpretation."<br />

Collector David Walsh, founder <strong>of</strong> the Museum <strong>of</strong> Old and New Art in Hobart which opened in<br />

January <strong>2011</strong>, is <strong>no</strong>w one <strong>of</strong> Australia's most <strong>no</strong>torious collectors <strong>of</strong> the strange and exotic in art. He<br />

saw Kitson's unfinished work-in-progress in the rooms <strong>of</strong> the National Art School and purchased it.<br />

This simpatico makes perfect sense, as the aesthetic preoccupation <strong>of</strong> both artist and collector are <strong>no</strong><br />

doubt similar: a fascination with the unk<strong>no</strong>wn. Kitson says, " I find connection and beauty in unexpected<br />

places, within the unk<strong>no</strong>wn and unfamiliar."<br />

One <strong>of</strong> the most effective devices <strong>of</strong> the wunderkammer and <strong>of</strong> Kitson's generous and abundant<br />

installations, is scale. <strong>The</strong> miniature has long been a tool <strong>of</strong> 'the sublime tradition'. To contemplate the<br />


Juz Kitson, What did you expect? 2010, mixed media, h.1Scm, w.19cm, d.25cm; photo: Jennifer leahy, silversalt<br />

small allows a consideration <strong>of</strong> the vast, and therefore faith in God's will and the possibility <strong>of</strong> spiritual<br />

transformation . Kitson explains it in a more intimate way: "Luring the viewer into the sublime, by<br />

pushing us out <strong>of</strong> an outer physical nature and instead forcing us to look inside ourselves and our inner<br />

nature. I take interest in slightly repulsing the viewer. <strong>The</strong>y are unsettled. This uneasiness turns into<br />

wonder."<br />

This is indeed the experience <strong>of</strong> Kitson's work. Beauty and disgust are flip sides <strong>of</strong> the same coin.<br />

Fear and revelation, too, are connected. Kitson's cow udders, for instance, fill the viewer with aversion.<br />

Th is is partly because <strong>of</strong> the intimacy <strong>of</strong> a teat, meant for the tender feeding <strong>of</strong> an in<strong>no</strong>cent. It is also<br />

because the teats are detached from the cow and are hanging from an austere white gallery wall. <strong>The</strong><br />

six udders were made by pouring plaster into condoms and dipping those forms into fleshy pink wax.<br />

But then Kitson attaches sprouting hair from glass droplets. Both hideous and unnatural. both sensitive<br />

and sensual, the work is called <strong>The</strong> calves are being weaned from their mothers and it highlights<br />

vulnerability and sweet in<strong>no</strong>cence. <strong>The</strong> work was made after a residency on Arthur Boyd's property,<br />

Bunda<strong>no</strong>n, in NSW.<br />

Bones appear in Kitson 's body <strong>of</strong> work. Skulls con<strong>no</strong>te lost life and refer us to the swift passing <strong>of</strong><br />

time - memento mori, a reminder <strong>of</strong> mortality. Kitson gathers decayed and bleached vertebrae and<br />

skulls from various places in NSW and Victoria. She gives them new life. <strong>The</strong> bones are "coated in a<br />


Focus: <strong>Ceramics</strong> + Body<br />

Juz Kitson, Born Uke this. Born out <strong>of</strong> tha t, 2010, Southern Ice porcelain, wax, flocking; photo: Brett East<br />

Opposite page: Juz Kitson, Thoughts filled with you, 2010. Southern Ice porcelain, lace. 1300"( oxidation<br />

h.60cm. w.49cm , d.22cm; photo: Jennifer leahy, silversalt<br />

thick gloss <strong>of</strong> glaze. the crystalised surface ignites an inviting presence. much different to that <strong>of</strong> the<br />

rotting carcass. I'm fascinated with aesthetic judgement and taste. where one finds beauty through<br />

contemplation in this world."<br />

<strong>The</strong> majority <strong>of</strong> Kitson's recent exhibition comprised small porcelain pieces that suggest the seductive<br />

aspects <strong>of</strong> the human body - flesh, female genitalia and the s<strong>of</strong>t pink <strong>of</strong> the heart muscle. <strong>The</strong> viewer is<br />

unsure if they are looking at the mechanical workings <strong>of</strong> the aorta and ventricle or a shell or a vagina.<br />

<strong>The</strong>y are all and <strong>no</strong>ne <strong>of</strong> these corporeal body parts. <strong>The</strong> smooth reflective glaze <strong>of</strong> her porcelain is<br />

alluring; some pieces are flocked and others have wax and hair extruding from them.<br />

Kitson's re-worked natural objects arouse fear and curiosity in us. <strong>The</strong>y are comments on the<br />

aesthetics <strong>of</strong> taste. <strong>The</strong>y linger in our memory long after we have left the exhibition. which is exactly the<br />

power <strong>of</strong> the wunderkammer. Wonder. in us, has been activated. <strong>The</strong>y are strange souvenirs <strong>of</strong> things<br />

we only half remember. As US academic Susan Stewart says. "<strong>The</strong> souvenir involves the displacement<br />

<strong>of</strong> attention into the past. <strong>The</strong> souvenir is <strong>no</strong>t simply an object appearing out <strong>of</strong> context, an object from<br />

the past incongruously surviving the present; rather, its function is to envelop the present within the<br />

past. "<br />

Juz Kitson<br />

21 October - 13 November 2010<br />

www.flindersstreetgallery.com<br />

Prue Gibson is a freelance writer. See more page 3.<br />


Focus: <strong>Ceramics</strong> + Body<br />

Left and opposite page:<br />

Dee Taylor-Graham. Cup <strong>of</strong> Tea ? 2009<br />

<strong>The</strong> Good, <strong>The</strong> Bad and <strong>The</strong> Muddy<br />

Mori Gallery. 2009; photo: Cori Pignatelli<br />

Flogging It<br />

Dee Taylor-Graham and Jan Guy take a role in the performative mud<br />

<strong>The</strong> performative has always been an aspect <strong>of</strong> ceramics with abundant texts addressing the body's<br />

(both artist's and viewer's) role in the finished object. And though the cra-ry and fantastic productions<br />

and personas <strong>of</strong> the late nineteenth century potter George Ohr can<strong>no</strong>t be ig<strong>no</strong>red, it is only in the last<br />

decade that the performative has become a focal point for some within the ceramics discipline. Grayson<br />

Perry opened the gates when he won the 2003 contemporary art Turner Prize and sent excited murmurs<br />

through the ceramics world - OMG we said. pottery is being recognised as contemporary art, but it was<br />

as much his cross-dressing persona as his objects that made him big news. And who can forget Michael<br />

Keighery's performance at the 2006 Brisbane conference? It was an hilarious, but deadly accurate<br />

critique <strong>of</strong> academies, <strong>of</strong> histories and the present ceramics community, and these apparently are<br />

common traits in performative ceramics. <strong>The</strong> performative has a lot to <strong>of</strong>fer ceramics in its immediacy,<br />

intimacy and its <strong>of</strong>ten collaborative nature. <strong>The</strong> following text examines some <strong>Australian</strong> performative<br />

ceramics that the authors have instigated and, in the case <strong>of</strong> Trevor Fry, been closely associated with.<br />

Shirl (a persona <strong>of</strong> Dee Taylor-Graham) is an oddity that critiques the gallery space and the tropes <strong>of</strong><br />

contemporary art. More specifically, she challenges the traditional display practices <strong>of</strong> the ceramic arts.<br />

Shirl doesn't just allow the audience to touch the objects. but rather, by her very presence and cheery<br />


Focus: <strong>Ceramics</strong> + Body<br />

'Fancy a cuppa luv?' obliges them to do so.<br />

With her warm familiarity and the familiarity <strong>of</strong><br />

her utilitarian tea wares, Shirl lures the audience<br />

into an easy intimacy. By enacting the gestures<br />

<strong>of</strong> the everyday in the gallery space, she brings<br />

life to the teacups that would, under typical<br />

modernist conditions <strong>of</strong> display, be static objects.<br />

In experiencing these objects first hand, the<br />

audience becomes active in the work, influencing<br />

its shape and progression through the gallery<br />

space.<br />

Beyond the function <strong>of</strong> her tea wares, Shirl<br />

herself functions to generate dialogue. She is<br />

an old lady, whose character is loosely based<br />

on the old ladies <strong>of</strong> the white middle-<strong>Australian</strong><br />

matriarchy. <strong>The</strong> strong-minded, community<br />

spirited women <strong>of</strong> the CWA, Trefoil and<br />

Mothers' Union who were always at the ready<br />

with a good, strong cup <strong>of</strong> tea and a plate <strong>of</strong><br />

sandwiches or little cakes. <strong>The</strong> chatter that one<br />

associates with such gatherings is Shirl's stock<br />

in trade. She doesn't have time for political<br />

correctness; she'll say it how it is, or, rather, how<br />

she sees it, and through her good-humoured,<br />

<strong>of</strong>tentimes amusing banter, draws our attention<br />

to assumptions about race, gender and class.<br />

Whilst Shirl's social commentary occurs as a<br />

side effect <strong>of</strong> a relational practice, Darren Kirns<br />

(a<strong>no</strong>ther <strong>of</strong> Taylor-Graham's personas), better<br />

k<strong>no</strong>wn to his mates as Daz, was invented with<br />

the express intention <strong>of</strong> making a political point.<br />

His initial yobbo intrusion into the genteel world<br />

<strong>of</strong> beautiful objects came as an answer to the<br />

perceived dearth <strong>of</strong> political comment in an<br />

object show called U8eaut at SCA in 2008. As<br />

the embodiment <strong>of</strong> <strong>Australian</strong> bogan-ness, Daz<br />

worked the room on opening night, distributing<br />

meat pies on napkins bearing slogans such as<br />

'Fuck <strong>of</strong>f we're full' and 'locals only' .<br />

From t hese humble beginnings, Daz, with<br />

the help <strong>of</strong> some bearded potter blokes and<br />


Focus: Ce rami cs + Body<br />

-------<br />

Dee Taylor-Graham<br />

Daz: Advance A ustralia Fa;r, 2009<br />

Photo: Esther Shilling<br />

To view the video<br />

Dazza in Modern Times<br />

go to www.futch .coln.au<br />

the support <strong>of</strong> his sheila, Shoana, found his way into the world <strong>of</strong> ceramics. Whilst still playing the<br />

part <strong>of</strong> racist, sexist and homophobic, Southern Cross brandishing bloke, Daz has become a vehicle for<br />

interrogating the world <strong>of</strong> <strong>Australian</strong> ceramics. Being a bloke he doesn't have a problem with the master<br />

mentality; he's happy to be part <strong>of</strong> the club. He does worry, though, about <strong>Australian</strong> potters getting<br />

stuff made in China. He'll tell you it's <strong>no</strong>t because he's racist; he reckons those Chinese blokes should<br />

get a fair wage for a day's work too. "But it's about the skills you k<strong>no</strong>w; I lost my job in manufacturing<br />

when they moved it <strong>of</strong>f to China. Pretty soon there'll be <strong>no</strong>thin' left."<br />

Daz walks a fine line between antagonism and alienation, but performance has always been used for<br />

its power as a provocative form. Intended readings and their subsequent reception can leave the artist<br />

open to attack or embrace, but this is a calculated risk in the interests <strong>of</strong> encouraging further discourse.<br />

Trevor Fry is a relative newcomer to ceramics, but an old hand at the darling <strong>of</strong> contemporary art,<br />

video. He has taken the contents <strong>of</strong> a speech bubble on one <strong>of</strong> Grayson Perry's vessels that reads<br />

'<strong>Ceramics</strong> is the New Video' and made it his manifesto; though recently he has modified this to<br />

'<strong>Ceramics</strong> is the New Everything'. Fry has <strong>no</strong>t abandoned his performance video, but embraced the<br />

sensuous pleasures <strong>of</strong> the processes and forms <strong>of</strong> ceramics and made them the subject <strong>of</strong> the new<br />

media elements <strong>of</strong> his chaotic installations. He fills the gallery space with complex, sculptural vessels<br />

<strong>of</strong> varying scale and the rubble left from the processes <strong>of</strong> ceramics from wet clay to dirty buckets and<br />

boxes with burgeoning bubble wrap. <strong>The</strong> moving image also occupies this space, but Fry refuses to<br />

privilege it. One watches the grainy image <strong>of</strong> the artist literally making love to his ceramic creation and<br />

observes the real object in the same glance. <strong>The</strong> videos don't feature, but add to one's reading <strong>of</strong> the<br />


Above: Trevor Fry, Pottery is the new video<br />

MOP Projects. 2009. ceramics installation<br />

mixed media; photo: Michael Myers<br />

Left: Treyor Fry, Pottery is the New Everything<br />

2010, video production stili<br />

To view Trevor Fry's videos, including Sexpot<br />

and History <strong>of</strong> <strong>Ceramics</strong>. go to<br />

VV\fI/W.youtube.comluserlMrMrTrevortrevor<br />

Please <strong>no</strong>te: explicit content<br />

work. Making love to a pot mocks the artist's intimate relationship with his/her own work, while a<strong>no</strong>ther<br />

screen (using timelapse photography) captures the process <strong>of</strong> making a ceramic object as a whirling,<br />

ecstatic dance that all the other installation elements are caught in. Fry does <strong>no</strong>t separate body, object,<br />

image and debris; for him the performative is <strong>no</strong>t an addition, but truly part <strong>of</strong> the equation - ceramics<br />

is the new everything!<br />

<strong>The</strong> action How to Flog Pots to a Dead Horse (Pushing Shit Uphill) [FLOG] was devised by<br />

the authors specifically for the 2010 Clay Energy conference held in Gulgong, NSW and enacted by<br />

students, staff and alumni from Sydney College <strong>of</strong> the Arts, with the occasional delegate and passerby.<br />

<strong>The</strong> title echoes the iconic performance by Joseph Beuys How to Explain Pictures to A Dead Hare<br />

(1965) and in many ways echoes Beuys's intentions. 8euys spent three hours inside a sealed gallery<br />

space whispering explanations for the art on the walls to a dead hare. <strong>The</strong> audience could only view<br />

the proceedings through a window pane (they were like the dead hare - deaf to Beuys's explanations).<br />


Focus: <strong>Ceramics</strong> + Body<br />

---------------------------<br />

Left: Conceived by Jan Guy and<br />

Oee Taylor-Graham and enacted by<br />

a contingent <strong>of</strong> artists from Sydney<br />

College <strong>of</strong> the Arts, including Jan<br />

Guy, Dee Taylor-Graham, Jacqui<br />

Spedding, Trevor Fry, Clarissa<br />

Regan and Allana McAfee, How to<br />

Flog Pots to a Dead Horse: Shit<br />

Up a Hill (after Joseph 8euys)<br />

Gulgong, <strong>April</strong> 2010<br />

Photo: Esther Shilling<br />

Now logic tells one that this seems like a purposeless, waste <strong>of</strong> time and energy; Beuys could have<br />

easily set a stuffed hare in front <strong>of</strong> a painting with the same conclusion or taken a posed photograph<br />

and written a narrative for the photograph, but he didn't. He introduced the physical body, in this case<br />

his own, as a counterweight to what he saw as the over-intellectualisation <strong>of</strong> art. Without the duration<br />

<strong>of</strong> the performance it would be hard to argue such a position, Driving 100 kilograms <strong>of</strong> recycled clay<br />

from Sydney to Gulgong to roll and push it down the main street and up a hill to the central marquee<br />

<strong>of</strong> the conference may also seem like a futile act, However, like Albert Camus's answer to the hopeless<br />

absurdity <strong>of</strong> a quest for meaning in the Myth <strong>of</strong> Sisyphus, the Gulgong action was one <strong>of</strong> revolt<br />

and, similarly to Beuys's performance, without its physical duration and materiality it would have been<br />

a hollow slogan, FLOG was born from simmering dissatisfactions with the discipline's ad nauseum<br />

positioning <strong>of</strong> itself within a discou rse that encourages sycophantic genuflection to a mythic master<br />

potter and a frozen tradition, and the blind ig<strong>no</strong>rance <strong>of</strong> some quarters <strong>of</strong> the art world to the scope<br />

<strong>of</strong> ceramics, Th is discourse can be a great burden for the young or open-minded ceramicist and FLOG<br />

managed to take this weight and through collaborative, physical struggle and much good humour<br />

and sweat, engage the local community and reach its destination, No intentionally aesthetised object<br />

was produced, but there was a real sense <strong>of</strong> achievement resulting from the action, We can only hope<br />

that whoever took the bindi- and gravel-ridden abject lump from the marquee didn't turn it into poor<br />

replicas <strong>of</strong> Asian pots (but then again this would give credence to our reasoning for it),<br />

<strong>The</strong>re is much still to be said and done with ceramics and while the art and cratt debate is a tired<br />

old nag that everyone 's sick <strong>of</strong> flogging, its carcass has resulted in fresh terrain for some practitioners<br />

to stamp, <strong>The</strong> performative has become part <strong>of</strong> an alternative trajectory - one that still ack<strong>no</strong>wledges<br />

the value ot the handmade and its processes yet questions <strong>no</strong>tions <strong>of</strong> tradition and critically engages<br />

contemporary social and cultural issues.<br />

Dee Taylor-Graham is a peripatetic potter (travelling pain in the arse) recently returned from<br />

a year as resident at Sturt Pottery. She is currently a casual lecturer at Sydney College <strong>of</strong> the<br />

Arts, University <strong>of</strong> Sydney.<br />

E: dee@futch.com.au<br />

Jan Guy is an artist and writer. She is the Subject Chair <strong>of</strong> <strong>Ceramics</strong> at Sydney College <strong>of</strong> the<br />

Arts. University <strong>of</strong> Sydney.<br />

E: jan.guy@sydney.edu.au<br />


Focus: <strong>Ceramics</strong> + Body<br />

Stephen Benwell, Collection, installation, 2010, ceramic. found objects. perspex cases, Shepparton Art Gallery<br />

Sidney Myer Fund <strong>Australian</strong> Ceramic Award 2010; photo: Christian Capurro<br />

Case Histories<br />

How museum displays have influenced the recent work <strong>of</strong> Stephen Benwell<br />

For this exhibition, commissioned by the Shepparton Art Gallery and the Sidney Myer Fund <strong>Australian</strong><br />

Ceramic Award, I planned a room with cases containing my work. I wanted this room to suggest the<br />

respectful, dignified environment <strong>of</strong> a museum. <strong>The</strong> idea was to present my work as though it was a<br />

collection <strong>of</strong> ancient artefacts. For a while I had been wondering about a new way to display my work.<br />

I was thinking about how art exhibitions are <strong>no</strong>t very different from shop windows, where the display<br />

itself is as important as the things displayed. How in my art practice could I make more <strong>of</strong> this final, but<br />

crucial, stage <strong>of</strong> the process?<br />

To go back several steps, for a PhD degree at Monash University I was looking at how the Western<br />

classical tradition <strong>of</strong> Greek and Roman art keeps on returning to influence artists. In 2008, I made a<br />

tour <strong>of</strong> museums in Greece for this research . I was struck by this experience in which tourists, beautiful<br />

artefacts and museum staff all meet in the rituals <strong>of</strong> art tourism. <strong>The</strong>re is a tension that comes from<br />

the shock <strong>of</strong> stepping <strong>of</strong>f the street in the modern world into the artificial confines <strong>of</strong> a museum. Once<br />

outside again, you are pitched back onto the street where shops sell rows <strong>of</strong> kitsch trinkets, modelled on<br />

the same sublime masterpieces you have just been looking at.<br />


Focus: <strong>Ceramics</strong> + Body<br />

Stephen Benwell in his studio<br />

<strong>The</strong> clash between the ancient and the modern, and the sublime and<br />

the kitsch, inevitably develops a slightly absurdist or comical reaction in<br />

the visitor.<br />

In the work I began after this trip, I reflected on what lay behind this<br />

experience. I decided to arrange objects as if they were a museum display.<br />

Obviously I had <strong>no</strong> actual antiquities at hand. At first I used any scraps<br />

and pieces lying around in the studio, arranging them casually and then adding a statue or a bust<br />

that I had made. It became clear that these improvisations lacked a framing device to give them more<br />

meaning.<br />

I tried some different shelving, but that didn't work. Next, I commissioned some perspex cases to be<br />

made. After placing the same arrangements and putting on the clear covers, I was amazed at the air<br />

<strong>of</strong> importance the case gave to its contents. Bits <strong>of</strong> rubble and broken statues suddenly looked like real<br />

antiquities. Even insignificant fragments and scraps looked as though they might be the remains from an<br />

old tomb.<br />

I realised that the case was like a 'shop window', <strong>no</strong>t just there to protect its contents but having a<br />

significance <strong>of</strong> its own. I decided to explore this phe<strong>no</strong>me<strong>no</strong>n by making my own artefacts and putting<br />

them in the cases. It was this idea that I used for the SMFACA proposal, giving it the title Collection.<br />

For the twelve cases that would make up Collection, I started by digging out old pots and statues<br />

from boxes or the back <strong>of</strong> shelves and, in the process, started a sort <strong>of</strong> archaeological dig in my own<br />


Above: Stephen Benwell, Collection, installation, 2010. ceramic. found objects. perspex cases<br />

Below: Stephen Benwell, Busts. 2010, ceramic, perspex cases; Shepparton Art Gallery<br />

Sidney Myer Fund <strong>Australian</strong> Ceramic Award 2010; photos: Christian Capurro<br />

THE JOURNAL OF AUSTRALIAN CERAMICS APRi l <strong>2011</strong> 33

Focus: <strong>Ceramics</strong> + Body<br />

Technical <strong>no</strong>tes from<br />

Stephen Benwell<br />

I hand-build using Keane's<br />

white raku and Southern Ice,<br />

painted with glaze stains on<br />

slip made <strong>of</strong> Southern Ice<br />

or engobe (made by adding<br />

earthenware clear gloss to the<br />

slip).<br />

I bisque fire the work before<br />

glazing.<br />

I apply the slip in layers with<br />

each piece going through<br />

multiple firings, either<br />

unglazed or glazed with<br />

earthenware clear gloss fired<br />

to 11 oooe and unglazed<br />

Southern Ice fired to 1260°C.<br />

I use an electric kiln.<br />

Top: Stephen Benwe ll, Hoard, 2010, ceramic. found objects, perspex cases<br />

Above: Stephen Benwell, Fragmena, 2010, ceramic, perspex cases<br />

Photos: Christian Capurro<br />

studio. I realised I could use these as materials for a handy short cut as they were already made and<br />

fired. To make them look more like artefacts, I used a hammer to break them into heads, arms and legs.<br />

I sorted and arranged the broken pieces while looking for interesting combinations or anything that<br />

caught my eye. I re-painted some <strong>of</strong> them adding weathering effects to their chipped forms. Finally, with<br />

the last case, thinking that a perspex case could convince the viewer <strong>of</strong> anything, I just piled up what<br />

was at hand in the most slap-dash manner, and called it a day.<br />

Along the way some cases developed into scenes with debris scattered on the ground, hinting at<br />

landscapes and figures <strong>of</strong> classical art and myth. To make more <strong>of</strong> this narrative potential, and the<br />

planned museum-like atmosphere, I wrote extended captions referring to classical Greek or Roman<br />

history and mythology to accompany the cases. For my proposal I wrote that Collection would be<br />

tongue-in-cheek. <strong>The</strong>re was scope for humour in the idea <strong>of</strong> a mocked-up museum and I tried to<br />

keep this spirit throughout each case. Underlying this humour was the idea that the forms <strong>of</strong> display<br />

contribute to understanding what we look at, whether it is kitschy tourist shops, dignified museum<br />

rooms, or art exhibitions.<br />

Note:<br />

Heide Museum <strong>of</strong> Modern Art will curate a survey exhibition <strong>of</strong> Stephen's work covering<br />

forty years <strong>of</strong> his ceramics, to be held in 2013. To prepare for this survey show, Stephen wants<br />

to make contact with collectors who have his work. He can be contacted by email at<br />

sbben2@dodo.com.au.<br />


Focus: <strong>Ceramics</strong> + Body<br />

Vessel, <strong>no</strong>rthern Iran<br />

1st millenium BeE<br />

<strong>The</strong> Divine Potter<br />

Damon Moon on ceram ics and the body<br />

.. 0 Lord ... we are the clay and Thou the potter; and we are all the work <strong>of</strong> Your hand.'<br />

(Isaiah 64:8 - King James version)<br />

In an episode <strong>of</strong> the popular BBC television program Top Gear one <strong>of</strong> the presenters, James May,<br />

finds himself competing in a car rally on the island <strong>of</strong> Mallorca. Not only is he driving an old and<br />

underpowered Citroen (an Ami 16), but his co-driver is the glamour model Madison Welch. This fits<br />

well with the comedic premise <strong>of</strong> the episode, where the regular hosts are saddled with <strong>no</strong>t only a daft<br />

car but a co-driver who either, as in Jeremy Clarkson's case, is an experienced rally navigator but can't<br />

speak a word <strong>of</strong> English, like Richard Hammond's companion is a mechanic who can speak English but<br />

unfortunately is so short he can't see over the windscreen, or, as in the case <strong>of</strong> May's co-driver Madison<br />

Welch, is seemingly uninterested in anything to do with cars or maps but does k<strong>no</strong>w quite a bit about<br />

hair products.<br />


Focus: <strong>Ceramics</strong> + Body<br />

-------------------------~<br />

I (hecan Ithyphallic water pot<br />

2 Attributed to the Tarporley Painter,<br />

South Italian beJl kra ter, 400-375 Be<br />

Photo: courtesy University <strong>of</strong> Sydney<br />

Nicholson Museum<br />

3 South Italian beJl krater detail<br />

Anyway, at one point in the program James May<br />

is called on to adjust Welch's racing harness and,<br />

while leaning over his rather buxom companion,<br />

is heard to mutter words to the effed that' .. . it's<br />

rather hard to do this without getting hold <strong>of</strong> the<br />

work <strong>of</strong> the divine potter' .<br />

So there you have it. It's all God's fault.<br />

<strong>The</strong>re has always been a strong connection between the ceramic vessel and the human body, one that<br />

embraces both the function <strong>of</strong> pottery as well as the metaphoric and symbolic qualities <strong>of</strong> the vessel.<br />

We refer to the lip and mouth, the throat, neck, shoulder, belly, waist and foot <strong>of</strong> a pot. <strong>The</strong>re have<br />

been placenta jars and funerary urns, and we can't ig<strong>no</strong>re the contribution <strong>of</strong> Thomas (rapper and his<br />

watery throne, the civilising influence <strong>of</strong> which can<strong>no</strong>t be underestimated.<br />


Focus: <strong>Ceramics</strong> + Body<br />

1 Sevres figures, c. 1780<br />

2 Terracotta Warrior Officer, Qin Dynasty<br />

excavated 1974, h.192cm<br />

Photo: courtesy Overseas Archeological<br />

Exhibition Corporation <strong>of</strong> the Peoples<br />

Republic <strong>of</strong> China<br />

3 Paul Greenaway, Che mentalite<br />

Photo: Grant Hancock<br />

Clay has been used to sculpt the human form and the figure <strong>of</strong>ten appears in decorations adorning<br />

ceramic vessels. Sometimes this gets very literal indeed, as in this ancient South American Ithyphallic<br />

water pot, or the South Italian Bell Krater held in the collection <strong>of</strong> the Nicholson Museum at the<br />

University <strong>of</strong> Sydney.<br />

Chinese Emperors constructed vast terra cotta armies to protect them in the after-life [Qin dynasty<br />

Chinese 'Terracotta warrior' figure <strong>of</strong> an Officer height 192cm,<br />

excavated 1974J. and, at the other end <strong>of</strong> the scale (in almost<br />

every way imaginable) innumerable figurines were produced by<br />

British and European factories, to f ill the mantles and the 'China<br />

cabinets' <strong>of</strong> a growing middle class.<br />

More recently, the figure has had somewhat <strong>of</strong> a revival in the<br />

hands <strong>of</strong> contemporary ceramicists. In Australia in the 1970s,<br />

many artists reconfigured the ceramic figurine as a campy political<br />

gesture, a protest vote by the most privileged artistic generation<br />

this country has ever seen .<br />

In literature and painting and even in film, the ceramic vessel<br />

has <strong>of</strong>ten been used as a metaphor for the body. Sometimes this<br />

resulted in fairly creepy work, as in the fashion for 'broken vessel '<br />

paintings. Although the best k<strong>no</strong>wn <strong>of</strong> these is the 1771 painting<br />

by Jean-Baptiste Greuze (1725-1805), which <strong>no</strong>w hangs in the<br />

Louvre Museum in Paris, the neo-classical master W illiam-Adolphe<br />

Bouguereau (1825- 1905) certainly expanded this oeuvre. Famous<br />

for both his depictions <strong>of</strong> religious subjects and young women, his<br />

own version <strong>of</strong> <strong>The</strong> Broken Pitcher - La (ruche (asse - <strong>no</strong>w<br />


Focus: <strong>Ceramics</strong> + Body<br />

hangs in (<strong>of</strong> all places) the California Palace <strong>of</strong> the Legion <strong>of</strong><br />

Ho<strong>no</strong>ur, while his 1886 painting Thirst (La Soif), one <strong>of</strong> a<br />

series where he extended on the vessel as a sexual metaphor,<br />

is, perhaps fittingly, in a private collection. 1<br />

In the field <strong>of</strong> cinema, everyone k<strong>no</strong>ws the scene in Ghost,<br />

where Demi Moore combines a little under-dressed midnight<br />

potting w ith some spectral <strong>no</strong>oky with Patrick Swayze.<br />

Indeed, <strong>no</strong>t only is this the only thing anybody remembers<br />

about the film, but it possibly was responsible for causing a<br />

spike in enrolments to part-time ceramics classes the like <strong>of</strong><br />

which had never been seen before.<br />

William Adolphe Bouguereau<br />

<strong>The</strong> Broken Pitcher, 1891<br />

A far more pr<strong>of</strong>ound moment is to be found in Peter<br />

Weir's 1982 film <strong>The</strong> Year <strong>of</strong> Living Dangerously, where<br />

the diminutive Billy Kwan 2 travels to the slums <strong>of</strong> Jakarta to<br />

check on an impoverished mother and the child he has been<br />

helping to support. Kwan arrives only to find that the young<br />

child has died and a funeral service is underway, during which<br />

the grieving mother smashes a clay cooking pot as part <strong>of</strong> the<br />

ritual. It's an extraordinary moment, and the terrible finality <strong>of</strong><br />

that gesture can<strong>no</strong>t be overstated.<br />

But it is in the process <strong>of</strong> sustaining our day-to-day life, in the preparation and consumption <strong>of</strong> food,<br />

that we most commonly come into contact with clay. Maybe this is why the Japanese tea ceremony had<br />

such a resonance with 20th century Western potters, where the culmination <strong>of</strong> the whole performance<br />

hinges around the touch <strong>of</strong> the li p <strong>of</strong> the participants to the lip <strong>of</strong> the tea bowl, like the kiss at the end<br />

<strong>of</strong> an old Hollywood film.<br />

<strong>The</strong> final association <strong>of</strong> clay and the body I want to address is that <strong>of</strong> a culture that never fired clay to<br />

make vessels or figures, that <strong>of</strong> the <strong>Australian</strong> aborigines. Yet clay, from the reddest ochre to the whitest<br />

kaolin, was central to their art, and it was an art centred quite literally on the body. Contemporary<br />

commentators may wish to concentrate on the production <strong>of</strong> recent ceramics by Aboriginal makers, but<br />

this is to privilege a style <strong>of</strong> work that is suited to display and consumption in a contemporary Western<br />

setting. It is far harder to incorporate the dab and smear <strong>of</strong> clay on dancing skin into the machinery<br />

<strong>of</strong> the art market, except as a spectacle far removed from its origins, a state with which contemporary<br />

ceramics is only too familiar.<br />

http://damonmoon.com<br />

1 <strong>The</strong>re is an interesting analysis <strong>of</strong> this trend in a 1958 article by PJ Vinken. 'Some Observations on the Symbolism <strong>of</strong> the Broken Pot in Art and<br />

l lteraturp', published (rather fittingly) in American Imago, a journal co-founded by Sigmund Freud.<br />

2 <strong>The</strong> character <strong>of</strong> Billy Kwan, a Chinese-<strong>Australian</strong> cameraman living in Indonesia, was played by the American actress Linda Hunt, a role for<br />

which she was awarded the 1983 Academy Award for Best Supporting Actress.<br />


Kris (oad, tableware. translucent porcelain, wheel-formed, various dimensions; photo: Terence Bogue<br />

Of Depth and Shadows<br />

Inga Walton considers the works <strong>of</strong> Kris Coad<br />

Working from her inner Melbourne studio at Gasworks Arts Park, Kris eoad maintains a dynamic<br />

practice which allows her to pursue conceptual art projects alongside a range <strong>of</strong> commissions, including<br />

bespoke tableware and cutlery, lighting moulds, and site-specific installations. "J like to put equal<br />

amounts <strong>of</strong> time into each area, but at certain times one takes over: if I am having an exhibition, I<br />

have a commission due, or my stockists need tableware, " she explains. "<strong>The</strong> tableware started because<br />

I needed to support myself and felt that I should be able to achieve that by doing what I love. It is<br />

wonderful to have people enjoy using what you make."<br />

Since 2006, eoad has gradually diversified her output to include a range <strong>of</strong> porcelain jewellery pieces,<br />

the development <strong>of</strong> which came about quite by chance. "When turning a water bottle for my range<br />


Focus: Ceram ics + Body<br />

Kris Coad. Line up, translucent porcelain, wheel-formed and altered, h.6.5-3Ocm; photo: Terence Bogue<br />

one day, I accidentally broke the neck <strong>of</strong> it. I cut it up to look at the thickness <strong>of</strong> the sides, then I put<br />

one <strong>of</strong> the rings on my wrist and <strong>no</strong>ticed how good it looked as a bracelet," (oad relates. "I made the<br />

bangles and cuffs first. then the rings by request. <strong>The</strong>y're similar, but I like to wear two together as the<br />

pairing <strong>of</strong> the angles works well visually. <strong>The</strong>y are actually very durable, but obviously will get damaged<br />

if you drop them on a hard surface."<br />

Each item in the range varies in thickness depending<br />

on how it is cut, which (oad likens to growth rings on<br />

a tree - the cool, opaque outer surface concealing an<br />

inner circle <strong>of</strong> colour. "I like to put colour inside the<br />

piece, so it is only seen when there is movement <strong>of</strong> the<br />

body. <strong>The</strong> angular shape is quite architectural/sculptural<br />

in form and I like the contrast between the glazed<br />

throwing rings on the inside to the smooth, unglazed<br />

surface on the outside."<br />

<strong>The</strong> discreet placement <strong>of</strong> colour is expressive <strong>of</strong><br />

interiority, and acts as more <strong>of</strong> a private pleasure for the<br />

wearer than a display for the observer; the uniqueness<br />

<strong>of</strong> each piece is reinforced by the way in which it<br />

silently communicates. " My interest is in the ability <strong>of</strong> a<br />

symbol, mark, colour or shadow to trigger an emotive<br />

response," she agrees.<br />

Kris (oad. rings, 20 11 , translucent porcelain<br />

coloured glazes, wheel-formed and altered<br />

various sizes; photo: artIst<br />

(oad's exhibition works also seek to enclose,<br />

surround and invite the viewer to engage with them<br />

in a very 'present' way. <strong>The</strong> recentJourney (2010)<br />

continued her exploration <strong>of</strong> multiples. "<strong>The</strong> objects I<br />


Focus: <strong>Ceramics</strong> + Body<br />

K,is Coad, transitory "', detail, and flight "', detail, 2010, bone china, thread, h.<strong>50</strong>cm, w.135cm, d.4Scm<br />

Dianne Tanzer Gallery & Projects; photo: Jeremy Dillon<br />

use for my pieces I choose for their symbolic meaning; I was thinking about life, death and beyond. I<br />

used cast leaves for ten thousand things ... , bones for transitory ... , feathers for flight ... , sticks for<br />

skin ... , and the mandorla form as the boat, or lunar barge [to which they are strung!," she elaborates.<br />

"It's about the journey <strong>of</strong> life, the inescapable flow <strong>of</strong> time, and the debris collected along the way. I<br />

like to create the environment for the work within the space, resolving the installation, working out how<br />

to hang or place the pieces. In an increasingly complex world, I make works that have a stillness and a<br />

silence to them."<br />

<strong>The</strong> qualities inherent to bone china allow Coad the freedom to best realise her vision, "My<br />

fa scination is in both the translucency <strong>of</strong> the clay and the exposing <strong>of</strong> the inner surface through light.<br />

<strong>The</strong> use <strong>of</strong> light to generate internal marking, patterning and shadow is the compelling and crucial<br />

feature <strong>of</strong> my work, which also has to be considered in the shape and placement <strong>of</strong> the various<br />

elements. Through the pieces, I want to evoke a point <strong>of</strong> focus, a sense <strong>of</strong> mystery, contemplation and<br />

wordless thought, which draws the viewer's attention." <strong>The</strong>se factors have been brought to bear in the<br />

realisation <strong>of</strong> Coad's current commission, the largest she has yet undertaken, for property developer and<br />

entrepreneur Dan iel 8esen's <strong>of</strong>fice at 1 Spring Street, Melbourne (formerly Shell House). Composed <strong>of</strong><br />

over 1000 cast bone china leaves in three different sizes, the work is designed as a double-sided screen<br />

(1.5 x 5 m) in the overall shape <strong>of</strong> a leaf, lit to create shadows across the floor and a central wall.<br />

" I have been lucky with the commission work I do, in that I have always been the one approached.<br />

Where possible, I meet with the client at my studio and talk through what they are thinking about,<br />

looking at and referencing work I have already made. I draw and take <strong>no</strong>tes, then come back to the<br />

client with a concept design", eoad observes. "In a way there is <strong>no</strong> real difference in the process, be it<br />

a customised dinner set, lighting, or a more narrative sculptural piece. You have to be very clear about<br />

what you are making for the client, even when producing prototypes, and setting realistic time-lines for<br />

completion with consideration for other projects you may be doing at the same time."<br />


left: Kris (oad. ten thous.md things. '" detail. 2010<br />

bone china, red thread, installation h.SOcm, w.120cm, d.4Scm<br />

Dianne Tanzer Gallery + Projects<br />

Above: Kris (oad, transitory .... detail 2010, bone china<br />

black thread, installation h<strong>50</strong>cm, w.160cm, d.4Scm<br />

Dianne Tanzer Gallery + Projects<br />

Photos: Jeremy Dillon<br />

eoad realises that her successful business model is one that must continually evolve as she embraces<br />

new fields. "I am very organised and <strong>of</strong>ten work long hours," she admits. "I ask myself regularly, if I<br />

could do anything in the world what would I rather be doing? I've been working at this for thirty years<br />

or so <strong>no</strong>w, and finally it's all coming together. I'm living the dream in a way; I like to do it all and have<br />

that diversity in my practice. I feel that I am true to the medium and believe in making it work for me in<br />

its entirety."<br />

Kris Coad is a finalist in the <strong>2011</strong> Manningham Victorian Ceramic Art Award.<br />

30 March - 16 <strong>April</strong> <strong>2011</strong><br />

Manningham City Council, 699 Doncaster Road, Doncaster, Victoria<br />

www.kriscoad.com<br />

She exhibits with Dianne Tanzer Gallery, Fitzroy, Victoria; www.diannetanzergallery.net.au.<br />

Coad's work is stocked at:<br />

Potier, Albert Park, Victoria: www.potier.com .au<br />

Craft Victoria, Melbourne: www.craftvic.asn .au/shop<br />

Planet, Surry Hills, NSW: www.planetfurniture.com.au<br />

Inga Walton is a writer and arts consultant based in Melbourne who contributes to numerous<br />

<strong>Australian</strong> and international publications.<br />


Focus: Ceram ics + Body<br />

Photo: Rachel Roberts<br />

Dancing with Clay<br />

Ingrid Weisfelt considers the benefits <strong>of</strong> the Feldenkrais method for ceramic artists<br />

<strong>The</strong> Feldenkrais method is a movement practice that sits extraordinarily comfortably with artists from<br />

all modalities. It is the antithesis <strong>of</strong> a gym workout, although strength, coordination and flexibility all<br />

improve over time. Feldenkrais is an awareness teaching, based on movement.<br />

It was an incredibly painful and potentially career-ending herniated disc that led me to the Feldenkrais<br />

method. After nine years as a dancer, I was unable to dance and could find <strong>no</strong> relief from any other<br />

form <strong>of</strong> treatment. After my first Feldenkrais lesson there was such a significant diminishing <strong>of</strong> pain<br />

that I decided to train as a practitioner, healing my injury while improving my skills as a dancer and a<br />

performer. Ten years on, pain free and still dancing and performing, I integrate my Feldenkrais practice<br />

with my arts practice, working with actors, singers, dancers, and artists. As in dancing, the creation<br />

<strong>of</strong> ceramic art is a highly physical act. <strong>The</strong> kinetic energy and physical effort <strong>of</strong> the ceramic artist is<br />

transferred into the clay. As artists who use their bodies to create their work, ceramicists are at risk <strong>of</strong><br />

pain and injury from their repetitive practice. It is the ability <strong>of</strong> the Feldenkrais method to provide a<br />

framework that links manual labour with artistic practice that makes it so beneficial for artists.<br />

<strong>The</strong> Feldenkrais method achieves this through gentle and explorative-based movement lessons.<br />

<strong>The</strong>y are run in two formats. Group lessons called Awareness Through Movement (ATM) lessons and<br />


Focus: <strong>Ceramics</strong> + Body<br />

Photos: Rachel Roberts<br />

individual hands-on lessons called Functional Integration (FI) lessons. By participating in either ATM<br />

or FI we learn how to refine and calibrate functional movement. Rolling, sitting, walking, falling,<br />

arching, folding, twisting, turning and reaching become total body actions as we learn to coordinate<br />

our muscles, breathing and intention. <strong>The</strong> lessons range from being almost meditative with minimal<br />

movement to highly active lessons involving judo rolls and headstands. <strong>The</strong>y constantly confound and<br />

delight us as we find in our own physical movement answers to each <strong>of</strong> the lesson's challenges. <strong>The</strong><br />

Feldenkrais mantra is "less will, more skill" and this defines the method and makes it unique - so<br />

different from your average physical workout.<br />

Fundamentally, the method teaches us how to feel and listen to our own bodies. As young children,<br />

this skill is integral to our survival, but as we age many things distract us from our bodies and we start<br />

to disassociate our thoughts from our physical selves. "We act in accordance with our self image,"<br />

stated Moshe Feldenkrais, founder <strong>of</strong> the method. If, in their kinesthetic image <strong>of</strong> themselves, a<br />

ceramic artist has a spine that bends in only one or two places, <strong>of</strong>fering <strong>no</strong> support for the over-used<br />

musculature <strong>of</strong> the arms and hands, then that is how the artist will interact with their clay. If they<br />

rediscover that their spine can be incredibly strong and supple and made for all types <strong>of</strong> movement,<br />

then they will relate to clay with more flexibility, support and power. It is <strong>no</strong>t about stretching and<br />

building muscle strength, but about building a more intuitive, responsive and intelligent body. A spine<br />

that has twenty-four vertebrae that all play their part in reaching, bending, lifting, turning, twisting,<br />

pushing, and arching, is a spine working at its best.<br />

<strong>The</strong>se are all movements required by the ceramic artist to varying degrees within their practice as they<br />

interact with their clay. However, <strong>no</strong> matter how brilliantly the spine functions alone, it remains underutilised<br />

unless the rest <strong>of</strong> the body's musculature and skeletal structure is also present in its movement.<br />

Like opening Pandora 's box, the Feldenkrais method guides us through a fascinating exploration <strong>of</strong> our<br />

own bodies and how we move, and maps long lost movement pathways in our self-image.<br />


Photo: Rachel Roberts<br />

We improve our physical skills so we can work longer, with more efficiency, enjoyment, power and<br />

strength. We improve our flexibility and coordination and we learn movements that we can do by and<br />

for ourselves to relieve muscle soreness and tightness. We learn through enjoyment and relaxation in<br />

a quiet, respectful and safe environment. <strong>The</strong> Feldenkrais method is a commitment to learning and. as<br />

such, can be a lifetime practice. like a meditation practice it requires an investment beyond paying for<br />

your gym membership or a monthly visit with the physiotherapist, but the rewards are plentiful and<br />

insinuate themselves into all aspects <strong>of</strong> your life. In the hands <strong>of</strong> an artist so skilled in the use <strong>of</strong> their<br />

body. with their actions so clearly connected with their intention and with a physical efficiency that will<br />

support them to labour tirelessly and painlessly over their work, the dance <strong>of</strong> sculpting clay becomes a<br />

highly rewarding, pain-free and satisfying one.<br />

Ingrid Weisfelt is a freelance dancer and choreographer who has worked for companies<br />

including Meryl Tankard <strong>Australian</strong> Dance <strong>The</strong>atre, Tanz <strong>The</strong>atre Basel in Switzerland, NYID<br />

and Opera Victoria.<br />

She teaches Feldenkrais at the Melbourne Feldenkrais Studio.<br />

www.melbournefeldenkraisstudio.com<br />

www.feldenkrais.org.au<br />


Focus: <strong>Ceramics</strong> + Body<br />

-------<br />

Maker unk<strong>no</strong>wn,<br />

ratjpa (reddish/pink<br />

ochre) wrapped in<br />

bark, 1935, vegetable<br />

fibre, h.2.5cm,<br />

w.7.2cm, d.3.8cm<br />

Photo: Rod Start<br />

Museum Victoria<br />

Shimmer and Shine<br />

Lindy Allen examines the importance <strong>of</strong> quality and aesthetic in the use <strong>of</strong><br />

ochres in Aboriginal art<br />

<strong>The</strong> art practice <strong>of</strong> <strong>Australian</strong> Aboriginal people is embedded in the popular imagination; the strong<br />

and enduring reference being the classic and textured reds, yellows and browns derived from ochres.<br />

It is a strong visual language <strong>of</strong> iconic motifs and patterning executed on the body for ceremony and<br />

performance, on the surface <strong>of</strong> sacred and secular objects, and in the construction <strong>of</strong> complex ground<br />

sculptures. <strong>The</strong> diversity <strong>of</strong> ico<strong>no</strong>graphy and patterning that emerges reinforces the strong cultural<br />

distinctions that exist across Aboriginal Australia. <strong>The</strong>se are artistic traditions w ith a history stretching<br />

back at least 22,000 years, the earliest examples <strong>of</strong> ochre having been recovered from a site associated<br />

with the magnificent galleries <strong>of</strong> rock art <strong>of</strong> western Arnhem Land .<br />

Ochres as well as clays are central to the spiritual life and the wellbeing <strong>of</strong> Aboriginal people.<br />

E<strong>no</strong>rmous variation exists in the quality <strong>of</strong> these and k<strong>no</strong>wledge <strong>of</strong> the specific locations <strong>of</strong> 'ochre pits'<br />

have been highly guarded, particularly those re<strong>no</strong>wned as a source <strong>of</strong> fine-grained ochres. Historical<br />

accounts attest to great distances being travelled for red ochre from central Australia. <strong>The</strong>se ochres<br />

were key commodities <strong>of</strong> exchange and passed along the extensive and complex trade networks that<br />

stretched across the continent. South-eastern Australia has in recent years w itnessed the important<br />

revival in possum-skin cloak making; ochres are used in the decoration <strong>of</strong> the skins gained from Elders<br />

who are responsible for sites in their own country.<br />

This oversimplification belies the complexit ies that underpin the significance and meanings associated<br />

with ochres. Ochres and, in particular, white clays, are well k<strong>no</strong>wn for their healing and protective<br />

qualities; either by ingestion, direct application to a wound or smeared on the body. Even the extent<br />

<strong>of</strong> the palette is remarkable, ranging from light yellow to dark yellow to orange, from red to dark<br />

browns, and, in rare instances, even pinks and purples. Colour variation is achieved by mixing pigments,<br />

combining them with other agents and even heating - the classic burnt red colour is derived in this way<br />

from yellow ochre.<br />


Focu s: <strong>Ceramics</strong> + Body<br />

Attributed to Mawunpuy Mununggurr, Arnhem land, Djan'kawu S;sters Story. 1942, natural pigments on eucalyptus bark<br />

h.13Scm, w.67.2cm. d.5cm; photo: <strong>The</strong> Donald Thomson Collection, on loan to Museum Victoria.<br />

DT6S Copyright: Mawunpuy Mununggurr (Family)<br />

<strong>The</strong> bark painting depicts one <strong>of</strong> the Ojan'kawu Sisters, important creation ancestors for eastern Arnhem land. Her body is<br />

painted with the madayin minytji, sacred dan designs, and the background to the work is painted with ratjpa, an ochre that is<br />

highly prized for its distinctive pinkish colour.<br />


I<br />

~<br />

Arrernte widow covered<br />

with pipe clay and wearing<br />

tyemurrelye to scare her<br />

husband's spirit away from<br />

the camp, Alice Springs, 1901<br />

Photo: WB Spencer and F Gillen<br />

Collection; reproduced with<br />

permission <strong>of</strong> Museum Victoria<br />

At funerals in Arnhem Land and other places, relatives are afforded protection from sickness and from<br />

the spirit <strong>of</strong> the dead by daubing pipe clay on their bodies. In the 19th century, Aboriginal women in<br />

south-eastern Australia fashioned kopi (,widows caps') from gypsum, wearing these for many months<br />

to signify that they were in mourning. Figures are k<strong>no</strong>wn to have been moulded from clay in different<br />

parts <strong>of</strong> Australia, and the anthropologist Donald Thomson collected examples <strong>of</strong> clay dolls made at<br />

Milingimbi in the mid-1930s. He photographed the young girls feeding their 'babies' with a set <strong>of</strong><br />

breasts also moulded from white clay and suspended from the neck.<br />

<strong>The</strong> finest ochres are <strong>of</strong>ten reserved for important ceremonial occasions, their use dictated by where<br />

and how it might be used and by whom; for example, red ochres were important in rain-making and<br />

other practices associated with controlling the elements in arid parts <strong>of</strong> Australia. Yolngu (people <strong>of</strong><br />

Arnhem Land) typically paint madayin minytji (sacred clan designs) using fine pigments applied with<br />

brushes <strong>of</strong> human hair. <strong>The</strong>se are painted on the chests <strong>of</strong> young men for initiation, old men for sacred<br />

ceremonies and on the deceased for burial. Whether painted onto the skin or the surface <strong>of</strong> a sacred<br />

object or on a bark painting, the nature <strong>of</strong> Yolngu artistic practice has as its essential element the <strong>no</strong>tion<br />

<strong>of</strong> biryun, i.e. a brilliance that embodies the spiritual power <strong>of</strong> the wangarr, i.e. the ancestors who<br />

undertook epic journeys across the landscape and created its features as they travelled. Ratjpa, a pink!<br />

purple ochre sourced from Elcho Island, is popular because <strong>of</strong> its metallic qualities that, when rubbed<br />

onto the skin, is guaranteed to create this 'brilliance' .<br />


Focus: <strong>Ceramics</strong> + Body<br />

------- --<br />

Bela Munyarryun feeds her clay doll<br />

with clay breasts, M ilingimbi,1935<br />

Photo: Donald Thomson; reproduced<br />

with permission <strong>of</strong> the Thomson Family<br />

and Museum Vid oria<br />

<strong>The</strong> origins <strong>of</strong> the madayin minytji lie with the wangarr whose bodies were similarly painted with<br />

the intricate designs and patterning and iconic symbols. Thus a finely executed painting on a sacred<br />

object or a man's chest brings into play the spiritual power <strong>of</strong> the ancestor or marr. Donald Thomson<br />

learned that when the ancestors came to their final resting place and entered the sacred waterhole,<br />

their bodies were painted with the sacred designs - i.e. when the ancestor 'swam submerged with<br />

his body painted [with] this 'minytji'. A number <strong>of</strong> the exquisite bark paintings collected by Donald<br />

Thomson demonstrate this <strong>no</strong>tion with a repetition <strong>of</strong> patterning that reinforces the way in which the<br />

madayin minytji on the ancestor was reflected in the sun as they walked along or lay submerged in a<br />

sacred waterhole, thus producing a shine or shimmer representing marr.<br />

And so ochres have been unquestionably at the core <strong>of</strong> spiritual and artistic endeavours <strong>of</strong> Aboriginal<br />

artistic practice . <strong>The</strong> ochres themselves, and the way in which they are used, reinforces the connections<br />

to the creators and the sacred places w ithin the land they created.<br />

Lindy Allen is Senior Curator, Anthropology, Museum Victoria and her exhibition, Ancestral<br />

Power and the Aesthetic is currently touring nationally,<br />

E: lallen@museum,vic.gov.au<br />

www.museumvictoria.com.au<br />

THE JOURNAL OF AUSTRALIAN CERAMICS APR il <strong>2011</strong> 49

Focus: <strong>Ceramics</strong> + Body<br />

Q & A: Thinking about<br />

Ceramic Jewellery<br />

Thoughts and experiences <strong>of</strong> t urn ing clay into wearable objects<br />

Bridget Bodenham<br />

Porcelain Rings<br />

2010, Southern Ice<br />

porcelain, stoneware<br />

cobalt stain, limestone<br />

glaze, wheel- and<br />

hand-formed, faceted<br />

pierced; largest<br />

hAem, w.4cm, d.4cm<br />

1. Why did you decide to make work to wear?<br />

SS: I wanted to explore a different material scale and an<br />

intimate space where an object could be worn and explored<br />

through movement and wear. I started making component<br />

bead pieces, <strong>no</strong>w I make a variety <strong>of</strong> forms.<br />

Bridget Bodenham<br />

2. What is the relationship between your ceramic work<br />

and what you make as jewellery?<br />

SB: <strong>The</strong> connection between my functional and sculptural<br />

work is partly to do with a similar technique and process <strong>of</strong><br />

making work and exploring ceramic material possibilities.<br />

3. What t ips might you <strong>of</strong>fer in the making <strong>of</strong> ceramic<br />

jewellery?<br />

BB: Keep the overall design simple and strong, including detail<br />

only where necessary.<br />

4. 00 you have a favourite piece <strong>of</strong> jewellery? If so,<br />

what is it and why?<br />

BB: I wear many different rings. made from many different<br />

materials, some that I made and others that were gifts. I<br />

always wear a white porcelain facetted ring; it seems to<br />

belong on my finger and stays warm!<br />

www.bridgetbodenham.com.au<br />

E: bridgetbodenham@hotmail.com<br />

Bridget Bodenham, Porcelain<br />

Chain, 2010, Southern Ice<br />

porcelain cobalt stain, hand-formed<br />

diam.4Ocm<br />

<strong>50</strong> THE JOURNAL OF AUSTRALIAN CERAMICS APRIL <strong>2011</strong>

Focus: Cerami cs + Body<br />

Ruby Pilven, collection <strong>of</strong> lewellery<br />

20 10, hand-formed porcelain<br />

silkscreen and transfer pnnts<br />

feldspathic glaze, 1300·( , va<strong>no</strong>us<br />

dimensions; photo: artist<br />

Ruby Pilven<br />

1, Why did you decide to make work to wear?<br />

RP: I decided to make wearable work because I wanted to combine my love <strong>of</strong> jewellery and passion<br />

and skill for ceramics. I think being able to wear your own handmade artwork is rather special.<br />

2. What is the relationship between your ceramic work and what you make as jewellery?<br />

RP: My ceramics and my jewellery are linked through material and design. In both works I use porcelain<br />

clay, intricate transfer prints and hand drawn patterns. Studying printmaking has allowed me to utilise<br />

pri nting and drawn line techniques.<br />

3. What tips might you <strong>of</strong>fer in the making <strong>of</strong> ceramic jewellery?<br />

Make jewellery that you would wear or something that is unique and can't be found anywhere else.<br />

4. Do you have a favourite piece <strong>of</strong> jewellery? If so, what is it and why?<br />

My favourite piece <strong>of</strong> jewellery would be my hand-printed dachshund necklace. It is a sil k-screened<br />

hand-drawn image <strong>of</strong> my own dog on a porcelain square. This work is my favourite as it encapsulates<br />

the multi-sk illed approach required to produce this sort <strong>of</strong> work.<br />

E: rubypilven@hotmail.com<br />


Focus: <strong>Ceramics</strong> + Body<br />

Prue Venables<br />

Prue Venables, Neck Piece, 2010<br />

porcelain, hand-thrown, cast. pierced<br />

silk thread, 1360"(, finding created by<br />

internal enclosed ball. h.Scm, w.l Oem<br />

d.1Ocm; h.6cm, w.7cm, d.7cm<br />

Photo; Terence Bogue<br />

1, Why did you decide to make work to wear?<br />

PV: A long-term interest in contemporary jewellery, its construction, inventiveness, materials exploration,<br />

the wearing <strong>of</strong> ... etc, all have contributed to this decision. <strong>The</strong> invitation to make a rosary was one <strong>of</strong><br />

the triggers for me to finish a piece after many years <strong>of</strong> experimentation and learning about the use <strong>of</strong><br />

metal in jewellery construction . <strong>The</strong> issues regarding the association with the body have given me lots <strong>of</strong><br />

challenging things to think about and explore.<br />

2. What is the relationship between your ceramic work and what you make as jewellery?<br />

PV: <strong>The</strong> use <strong>of</strong> the skills and techniques developed for my ceramic work, particularly my focus on<br />

problem solving and the exploration <strong>of</strong> all sorts <strong>of</strong> things. I enjoy the making <strong>of</strong> small-scale and intricate<br />

objects so there is a strong relationship between the two areas <strong>of</strong> my work.<br />

3. What t ips might you <strong>of</strong>fer in the making <strong>of</strong> ceramic jewellery?<br />

PV: Make sure that everything is finished immaculately. Look at many things and explore widely. Don't<br />

just settle for the obvious. Work at solving the issue <strong>of</strong> findings carefully. Don't just glue on other<br />

people's solutions. When gluing on findings make sure that you have made a proper place for them so<br />

they are <strong>no</strong>t just stuck on the surface. Go to the jewellery supply stores and look at as many findings<br />

etc. as possible. <strong>The</strong>se places are like treasure troves and are lots <strong>of</strong> fun as well as a mine <strong>of</strong> ideas.<br />

Understand what the findings do and the requirements <strong>of</strong> the jewellery that you are making. Be aware<br />

<strong>of</strong> the weight in particular. Ceramic materials can sometimes need extra support because <strong>of</strong> their<br />

weight.<br />

4. Do you have a favourite piece <strong>of</strong> jewellery? If so, what is it and why?<br />

PV: A translucent green chrysophrase ring by Marion Hosking that I wear every day. It was a gift from<br />

my sister and chosen in the company <strong>of</strong> some good friends. It is a beautiful, serene and elegant object.<br />

It brings me much pleasure and joy.<br />


Focus: Ceram ics + Body<br />

1. Why did you decide to make work to wear?<br />

S8 : It was <strong>no</strong>t a conscious decision but driven by the need to make. In the mid-90s I was living in an<br />

isolated situation without a studio and started to make tiny objects. Being <strong>of</strong> a practical nature, for me<br />

these objects needed to have a function and so they developed into wearable pieces.<br />

2. What is the relationship between your ceramic work and what you make as jewellery?<br />

S8: In more recent years it was a break from throwing tableware. I enjoyed working on a sma ll scale<br />

where each piece was <strong>no</strong>t so precious and you could play with images. This play may have ended<br />

on the tableware <strong>of</strong> the time. Now that my form making is all by hand, the nature <strong>of</strong> the ma king <strong>of</strong><br />

the wearable shapes is <strong>no</strong>w an alternative to the hand-building. <strong>The</strong> imagery used is very distinct. My<br />

vessels are embellished simply with elemental images in oxides whereas the wearable pieces sometimes<br />

have very decorative imagery, colourful commercial decals and more simple black decals I have printed.<br />

3. What tips might you <strong>of</strong>fer in the making <strong>of</strong> ceramic jewellery?<br />

S8: I prefer <strong>no</strong>t to mix ceramic with metal, (other than brooch backs) and any surface that contacts skin<br />

or fabric needs to be smooth and preferably vitrified.<br />

4. Do you have a favourite piece <strong>of</strong> jewellery? If so, what is it and why?<br />

SB: I have a collection <strong>of</strong> Rajasthan i silver amulets made into a necklace. I wear it <strong>of</strong>ten, as it is light<br />

and significant. It also goes well with the pendants I make, especially anything with red roses - a<br />

combination <strong>of</strong> my fascination with India and my European cultural heritage.<br />

www.sandrabowkett.com<br />

Sandra Bowkett<br />

Sandra Bowkett, pendants. 2010, clear glaze. decals<br />

mid-fired 1195°C, h.4

Focus: <strong>Ceramics</strong> + Body<br />

.:....-.---<br />

o<br />

Irene Grishin-Selzer<br />

p.s. ILU <strong>2011</strong><br />

collection<br />

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Irene Grishin-Selzer<br />

1. Why did you decide to make work to wear?<br />

IGS: A friend said she wished she could wear my sculptures and I started thinking <strong>of</strong> jewelry as a kind <strong>of</strong><br />

intimate art form, so I started experimenting. <strong>The</strong>re was <strong>no</strong> contemporary porcelain or ceramic jewellery<br />

on the market when we (lggy and Lou Lou) started so it felt like a real adventure.<br />

2. What is the relationship between your ceramic work and what you make as jewellery?<br />

IGS: Making sculptures make me feel free, as it doesn't have to fit any practicalities <strong>of</strong> wearability.<br />

I make my sculptures to explore an idea or themes that I feel need to be looked at in greater detail than<br />

I can achieve in jewellery.<br />

3. What tips might you <strong>of</strong>fer in the making <strong>of</strong> ceramic jewellery?<br />

IGS: Try to make something different to what you see around you. Clay is such a versatile medium; it can<br />

do so many things and it's easy to experiment until you find your own style.<br />

4. Do you have a favourite piece <strong>of</strong> jewellery? If <strong>50</strong>, what is it and why?<br />

IGS: It's <strong>of</strong>ten the latest piece I've made. I've been working on a new range <strong>of</strong> jewelry under the name<br />

<strong>of</strong> P.S. ILU which is kind <strong>of</strong> the love child <strong>of</strong> Iggy and Lou Lou. All the pieces are numbered and limited<br />

to an edition <strong>of</strong> <strong>50</strong> worldwide. <strong>The</strong>re is a piece in this collection that is my current favourite - it's a<br />

leopard carrying a heart, which explores the idea <strong>of</strong> holding something special - which is what P.S. ILU is<br />

all about.<br />

www.iggyandloulou.com<br />


Focus : <strong>Ceramics</strong> + Body<br />

Ma<strong>no</strong>n van Kouswijk<br />

1. Why did you decide to make work to wear?<br />

MVK: As a maker <strong>of</strong> jewellery and objects, I have<br />

always made objects that are wearable.<br />

2. What is the relationship between your<br />

ceramic work and what you make as<br />

jewellery?<br />

MVK: I got into working with ceramics through a<br />

residency at the European Ceramic Work Centre in<br />

the Netherlands. Ceramic has since been a great<br />

addition to the other materials that I was already<br />

working with - metal, wood, plastic, paper, textiles<br />

etc. My work is <strong>no</strong>t bound to anyone material as<br />

such; the ideas and subject matter define which<br />

material I choose to work with.<br />

3. What tips might you <strong>of</strong>fer in the making <strong>of</strong><br />

ceramic jewellery?<br />

MVK: I would almost say "don't try this at home".<br />

You have to have lots <strong>of</strong> patience and go for a<br />

walk from time to time, otherwise you might go<br />

absolutely crazy. Let's just say it's a challenging<br />

material.<br />

4. Do you have a favourite piece <strong>of</strong> jewellery?<br />

If so, what is it and why?<br />

MVK: Beaded necklaces are my absolute favourite.<br />

I love the fact that the basic principle <strong>of</strong> it is so<br />

simple, and yet still <strong>of</strong>fers so many possibilities for<br />

reinterpretation.<br />

Above left: Ma<strong>no</strong>n van Kouswijk. Perles d'Artiste 4<br />

Necklaces, 2009. hand·modelled with respedlvely 4. 6, B<br />

and 10 fingers (hence the different bead shapes). Southern<br />

Ice porcelain, black ceramic penCil. beads from 4-25mm<br />

Above: Ma<strong>no</strong>n van Kouswijk, Pearl Grey. 2009<br />

Saucer: bone china porcelain, cast, d.15cm<br />

Necklace, cast and hand~built elements, glass, plastic and<br />

wooden beads, cultivated pearls, bone china, Southern Ice<br />

porcelain, w.32cm, d.O.S·l.Scm.<br />

All works use Gordon Baldwin glaze fired to t 2600C .<br />

Photos: Uta Eisenreich<br />



In October and November 2010, I travelled to the ICMEA conference in Fuping, China, and was<br />

invited to Sanbao in Jingdezhen where I was lucky e<strong>no</strong>ugh to meet and photograph ceramicists from 24<br />

countries - Brazil, China, USA, Poland, New Zealand , Monaco, Holland, France, Thailand, Japan, Taiwan,<br />

Latvia, Lithuania, Finland, Germany, Hungary, Roman ia, Eston ia, Slovakia, Canada, Switzerland, Italy,<br />

Israel and Australia.<br />

As I travelled around these famous ceramic cities - the studios, workshops and exhibitions - I carried<br />

with me porcelain from Fuping and Jingdezhen. I asked the ceramicists to make an object w ith the clay<br />

that would speak <strong>of</strong> them and their work. As each <strong>of</strong> them wore it on their body, I captured an image<br />

<strong>of</strong> the moment - a portrait <strong>of</strong> the artist and object as one.<br />

<strong>The</strong> energy and sense <strong>of</strong> fun is captured in the images.<br />


1 Daphne Corregan (Monaco) 2 Gilles S<strong>of</strong>fren (Monaco) 3 Duncan Shearer (New Zealand) 4 Carol Gentithes (USA)<br />

5 Shin Koyama OapaniAuslralia) 6 Benedict Wiertz (Brazil) 7 Fred Johnston (USA) 8 Ulle Rajasalu (Estonia) 9 VIPOO Srivllasa<br />

(Thailand/Australia) 10 M ichal Kusik (Slovakia) 11 Jim leedie (USA) 12 Jan Zamorskl (Poland) 13 Jolanta Kvasyte (lithuania)<br />

14 Peteris Martinsons (latvia) 15 Saskia Plaeltzer (Holland) 16 Christine Aschwanden (Switzerland) 17 Molly Forman (USA)<br />

18 linda Doherty (Canada) 19 Jim leedie (USA) 20 Godelieve Smulders (Holland) 21 Monica Patuszynska (Poland)<br />

22 Ruta Sipalyte (lithuania) 23 Peter Lange (New Zealand) 24 Imants Klidzejs (Latvia) 25 Meng-Shu You (Taiwan)<br />

26 Tina Byrne (Ireland) 27 Ruta Rindina (Latvia) 28 Tapio Yli-Viikari (Finland) 29 Ray Chen (China) 30 Karin Flurer-8runger<br />

(Germany) 31 Remigijus Sedereviciu5 (lithuania) 32 Oriana Pelladi (Romania) 33 Peteris Martinsons and Ilona Romule (latvia)<br />

34 Jean Nicholas Gerard (France) 35 You Hao (China) 36 Szilvia Gyorgy (Poland/Australia) 37 Aris Seglins (latvia)<br />

38 Aldona Salteniene (lithuania) 39 Fred Johnston (USA) 40 Will van Blokland (Poland)<br />


Promotion<br />

Visit by Unident;fied Ladies Group - Po ttery Studio, circa 19<strong>50</strong>; Instructor, Alan J. Wilk.inson<br />

Image courtesy <strong>of</strong> RMIT Archives, Series 462, image number PH5.6.35<br />

<strong>Ceramics</strong> at RMIT University<br />

Sally Cleary takes a look at the past, the present and the future<br />

PAST<br />

As the current Studio Co-ordinator in <strong>Ceramics</strong>, I was recently asked to write a brief essay on the<br />

history <strong>of</strong> <strong>Ceramics</strong> at RMIT University, Melbourne. My first thoughts were, how hard could this be?<br />

Given that I have taught in the <strong>Ceramics</strong> Studio for more than fiheen years, I felt I must have some<br />

good background information to contribute. My first contact with RMIT ceramics was in the early '90s<br />

when I commenced my Masters <strong>of</strong> Fine Art. Kim Martin was the Course Co-ordinator at the time,<br />

later to be replaced by Kevin White. <strong>The</strong>se were exciting days in the ceramics history <strong>of</strong> Melbourne,<br />

and were the heydays <strong>of</strong> the Meat Market Craft Centre, when ceramicists who had completed their<br />

degrees and diplomas during the '70s and '80s decided it was time to return to study. For me, it was<br />

a turning point in my career as an artist working in the area <strong>of</strong> architectural ceramics. It <strong>no</strong>t only gave<br />

me the confidence to pursue some personal goals that would take my work to the next level, but also<br />

taught me about the importance <strong>of</strong> research and, amongst other things, enabled me to form valuable<br />

friendships and connections that will last my lifetime. Prue Venables, Christopher Sanders and David<br />

Potter were working and fin ishing their Masters degrees at RMIT at this time. Fiona Hiscock, David<br />

Ray, Marianne Huhn, Janet Korakas and David Pottinger (amongst others) were all students during the<br />

1990s and early naughties, who continued on to pursue their dream <strong>of</strong> becoming successful artists, and<br />

succeeded .<br />

But what <strong>of</strong> RMIT's earlier ceramics history) I did a quick Google search: <strong>Ceramics</strong> RMIT History, and<br />

came up with practically zilch. I found some really interesting facts, such as people who had studied or<br />

exhibited at the RMIT School <strong>of</strong> Art and Storey Hall Galleries, but <strong>no</strong>thing about its rich and long history.<br />

I k<strong>no</strong>w that the ceramics studio is at least seventy-seven years old, as Klytie Pate studied ceramics in<br />

1933 in the School <strong>of</strong> Applied Art, and later on, until 1945, she taught there. In those days, RMIT was<br />


Promotion<br />

Harumo Ogawara. Year 3, 2010, Birdwatching<br />

wheel-thrown. stoneware. diam.l4cm<br />

Photo: Christopher Sanders<br />

David Ray, Year 3, 1996, Ship Tureen<br />

Photo: Terence Bogue<br />

a technical college, however <strong>The</strong> School <strong>of</strong> Applied Art was established even earlier in 1918, a mere<br />

ninety-two years ago. Peter Rushforth (in the 1940s), Alan Watt and Vic Greenaway (in the 1960s), are<br />

all graduates <strong>of</strong> RMIT, and Rushworth was awarded an ho<strong>no</strong>rary Doctorate in 2010 in recognition <strong>of</strong> his<br />

contribution to <strong>Australian</strong> ceramics.<br />

A CAREER<br />


Choose from RMIT's wide range <strong>of</strong> fine art<br />

programs at degree and postgraduate level,<br />

including specialised and hybrid programs<br />

in ceramics and gold and silver-smithing.<br />

With a new course structure in 2012,<br />

you can tum your creativity into a career.<br />

> For further information about 2012<br />

programs, phone 03 9925 3858 or<br />

email sally.cleary@rmit.edu.au<br />

www.rmit.edu.au/art<br />


, Jane Wa lton, Ho<strong>no</strong>urs, 2010<br />

Beetle Game. cast porcelain and<br />

stoneware clay, h.5 ern. w.30em. d.33em<br />

Photo: Christopher Sanders<br />


Today the <strong>Ceramics</strong> Studio is a thriving<br />

hub <strong>of</strong> activity. Located in the city centre <strong>of</strong><br />

Melbourne, the studios are located in some<br />

<strong>of</strong> the oldest buildings at RMIT University,<br />

retaining an atmosphere and character passed<br />

on through time. However, <strong>The</strong> School <strong>of</strong> Art<br />

is anything but stifled by age and prides itself<br />

on its forward approach to contemporary art,<br />

with sophisticated, up-to-date equipment<br />

and tech<strong>no</strong>logy to match. As well as its<br />

Undergraduate Courses (including Ho<strong>no</strong>urs),<br />

the University also <strong>of</strong>fers an exciting range<br />

<strong>of</strong> Post-graduate Degrees. Today students can<br />

apply for Masters and Doctorates in Fine Arts<br />

by course work as well as research. <strong>The</strong> Masters<br />

by Coursework (MFA) is a very popular option<br />

among graduating students as all the course<br />

areas from painting through to sculpture,<br />

photography, printmaking, drawing, media arts,<br />

sound, ceramics and gold and silver-smithing<br />

have regular tutorials together to discuss ideas<br />

and provide valuable feedback within their<br />

peer group. It makes me wish I were a young<br />

graduate again.<br />

2 Andrei David<strong>of</strong>f. Year 3. 2010. Whiteblack Vessels<br />

wheel-thrown, Southern Ice porcelain, largest h.9Ocm<br />

3 Robyn Phelan, Ho<strong>no</strong>urs, 2010, From here to there<br />

hand-formed stoneware, h.38cm<br />

4 Valissa Butterworth, Year 3. 2010, Fragmented<br />

slip cast, computer generated design<br />

h.12ern. w.1Scrn d.lOern<br />

Photos: Christopher Sanders<br />


Promotion<br />

FUTURE<br />

Beginning in 2012. <strong>The</strong> School <strong>of</strong> Art has<br />

decided to incorporate gold and silver-smithing<br />

with ceramics. to form a new object-focused<br />

studio. <strong>The</strong> studio. which has obvious skill base<br />

concerns and traditions in both areas. will retain<br />

course specialisation. whilst introducing new<br />

hybrid subjects where it identifies similarities.<br />

such as mould-making. concept development<br />

and installation practice. We are in an enviable<br />

position to build onto both these disciplines and<br />

incorporate ceramics with metal - the perfect<br />

combination <strong>of</strong> materials. We are also in the<br />

unique position <strong>of</strong> being able to move around<br />

Natasha Hosny, Ho<strong>no</strong>urs, 2010. Urban Track, porcelain<br />

paper clay. h.3Ocm. w.6Ocm. d.t Oem<br />

Photo: Christopher Sanders<br />

the object. without material boundaries. encouraging students to grow in areas they feel drawn to and<br />

are comfortable in. Students will also be able to choose from the diverse range <strong>of</strong> other courses the art<br />

school has to <strong>of</strong>fer.<br />

In May. the RMIT University <strong>Ceramics</strong> Studio will open its doors for a weekend ceramics festival. We<br />

have invited twelve well-k<strong>no</strong>wn Victorian ceramicists to demonstrate their skills and talk about their<br />

work within the ceramics studios at RMIT. We hope you will be able to join us then.<br />

For more information regarding courses and the weekend festival, please contact:<br />

E: sally.cleary@rmit .edu.au<br />

T: 03 9925 3858<br />


RMIT <strong>Ceramics</strong> Festival: 7 & 8 May <strong>2011</strong><br />

Come and meet Victoria's leading<br />

ceramicists, for a weekend <strong>of</strong> activities<br />

covering:<br />

• Demonstrations in all areas <strong>of</strong> ceramic<br />

process<br />

• Contemporary artist talks<br />

• Meet suppliers and discover new materials<br />

• Share ideas over a c<strong>of</strong>fee or glass <strong>of</strong> wine<br />

• Find out about our undergraduate and<br />

postgraduate studies<br />

• Engage with pr<strong>of</strong>essionals, lecturers and<br />

students and likeminded people<br />

Located in the historic RMIT ceramic studios<br />

in Melbourne, this is a weekend <strong>no</strong>t to be<br />

missed on the <strong>2011</strong> ceramics calendar.<br />

Cost and registration:<br />

1 day $120<br />

2 days $200<br />

<strong>50</strong>% student discount<br />

[includes high school and tertiary students)<br />

> Quote course code 5340099<br />

Phone: (03) 9925 8111<br />

E-mail: enquiries@rmit.edu.au<br />

www.shortcourses.rmit.edu.au<br />

THE IOURNAl OF AUSTRALIAN CERAMICS APRil <strong>2011</strong> 61

View<br />

Helen Fuller, Three Pots, terracotta, hand·built using<br />

(oils, underglaze. tallest. h.23cm, w.8cm<br />

Photo: Michal Kluvanek<br />

<strong>The</strong> South <strong>Australian</strong><br />

<strong>Ceramics</strong> Award 2010<br />

An overview by Stephen Bowers<br />

As Jan Twyerould, founding organiser <strong>of</strong> the Award and convener <strong>of</strong> this year's event, again on behalf<br />

<strong>of</strong> the Potters' Guild <strong>of</strong> SA, observed in her opening catalogue comments, the role <strong>of</strong> the competition<br />

"is to provide a forum for the pr<strong>of</strong>essional Potters <strong>of</strong> South Australia" - and this it certainly has done.<br />

<strong>The</strong> award has materially assisted development <strong>of</strong> the Art Gallery <strong>of</strong> South Australia's contemporary<br />

ceramics colledion and, with its exhibitions and prizes, fostered public appreciation and awareness <strong>of</strong><br />

South <strong>Australian</strong> ceramics. This also promotes the event amongst established ceramics praditioners,<br />

while attrading new entrants from within the State.<br />

<strong>The</strong> cata logue statement by this year's guest judge, highly respeded visual artist Gerry Wedd, <strong>no</strong>ted<br />

his surprise that some established praditioners had <strong>no</strong>t entered the field. Perhaps, given the overall<br />

modest size <strong>of</strong> the praditioner community in SA, where many artists have entered and some have<br />

won the award in the past, this may <strong>no</strong>t be so surprising; in any case it leaves room for other artists to<br />

present their new works.<br />

<strong>The</strong> award was the 9th since inception in 1988, and has always been an interesting event locally, as<br />

it gives audiences a chance to see what contemporary peers are doing at anyone time. This year 's field<br />

included several fresh faces who were showing for the first time, as well as others who have entered<br />

only infrequently.<br />


View<br />

Competitions can be daunting: recipients <strong>of</strong> awards<br />

are few and hopes can be dashed. This year's award, as<br />

<strong>no</strong>ted by Gerry Wedd, being largely free from any obvious<br />

domination by 'the usual suspects', saw an enterprising<br />

field where the calibre varied and the overall winner, Helen<br />

Fuller, though an impressively established visual artist<br />

(principally as a painter), is new to making pots and was<br />

viewed by many as an ingenue. Her 3 pots were pinched,<br />

coiled forms loosely covered in Fullers trademark 'gouache<br />

gingham' (or check style) in dry overlaid washes <strong>of</strong> oxide<br />

pigments, very reminiscent <strong>of</strong> her paintings. It was an<br />

encouraging win and she has purchased a kiln with her<br />

prize money.<br />

Jane Sabey, Dare to be Different, hand~built<br />

mid-fired, slips, terra sigillata. copper wash<br />

h.4Ocm, w.26cm, d.30cm<br />

Presented at Adelaide Central Gallery in Norwood, the show comprised 24 works, short-listed from<br />

all the entries by the judge. This number was slightly down on the historical average <strong>of</strong> between 25 and<br />

30. Exhibits ranged from vessels and sculptural and figurative pieces, through to installation and tableau<br />

arrangements, sets and groupings (those Morandi stililifes have a lot to answer for!).<br />

As nationally re<strong>no</strong>wned artist Jeff Mincham commented in his opening remarks to launch the award,<br />

there was a <strong>no</strong>ticeable absence <strong>of</strong> large works, the largest being John Ullinger's How do I Love <strong>The</strong>e?,<br />

a poetic, sgraffito-inscribed, reduction lustre, lidded form that stretched to a respectable 70cms tall.<br />

Overall, a degree <strong>of</strong> thoughtful and even mischievous good humour was visible; Alison Ar<strong>no</strong>ld, Gus<br />

Clutterbuck (whose work incorporated found objects in the form <strong>of</strong> squashed t in plates retrieved from<br />

detritus at the Anangu Pitjantjatjara homeland community <strong>of</strong> Ernabella), Alison Smiles and Merrilyn<br />

Stock seemed to have had fun with their pieces, while a Disney-like safari send-up, in the form <strong>of</strong> a<br />

freely modelled bush veldt jeep explosively overloaded with a complement <strong>of</strong> crusty, cavorting big game<br />

animals by Jane Sabey, raised a few smiles.<br />

Also on a light <strong>no</strong>te were Erin Lykos's Bottle Bowls, small bowls made from assemblages <strong>of</strong> tiny<br />

bottle pots, while Helen Doubell's utility-friendly stoneware bowls, Nesting Comforts, stacked the<br />

promised comforts in a neat and (you had to say it) nesting pile.<br />

<strong>The</strong> rigors and challenges <strong>of</strong> function still hold a lot <strong>of</strong> cachet for some potters and was addressed in<br />

this award either directly, in confident, unadorned and deceptively simple works like Jane Robertson's<br />

Water Bowls, or more decoratively, as in Phil Hart's pictographically banded and wonderfully smooth<br />

Far left:<br />

Kirsten Coelho<br />

Ginger Jar<br />

wheel-thrown porcelain<br />

h.2Scm, w'17cm<br />

left:<br />

Jane Burbidge,<br />

Low Tide, wheel-thrown<br />

and hand-built porcelain<br />

sulphate decoration<br />

h.1Ocm, w.30cm, d.9cm<br />

Photos: Michal Kluvanek<br />


View<br />

Francisca Tyssen, Ochre Point, pinched and<br />

hand-built porcelain, local ochres and oxides<br />

h. llern, w.13em<br />

and welcoming Inlaid Bowl. Helen Taylor's standalone<br />

centrepiece, Radiolarian, attracted interest with<br />

its coolly Nilotic azure-green depths, as well as for<br />

being named after amoeboid protozoa that produce<br />

intricate mineral skeletons.<br />

it was in Kirsten Coelho's superb Ginger Jar<br />

however, that ideas <strong>of</strong> functional form and the<br />

complexities <strong>of</strong> its abstraction reached their reductive<br />

and balanced apogee. This remote, meditative-yetinviting<br />

piece received the respectful accolade <strong>of</strong> a<br />

thoughtful judge's commendation. Also commended<br />

was Hope, a hand-built porcelain vase, freely painted<br />

in cobalt blue by Silvia Stansfield.<br />

John Ferguson's Poise was a totemic composition <strong>of</strong> thrown forms (an ice cream cone and a<br />

doughnut?) that <strong>of</strong>fered the kind <strong>of</strong> assemblage that could be deeply symbolic, yet might also be simply<br />

about a technical love <strong>of</strong> stacking up and balancing those saggar-fired forms.<br />

Maria Parmenter's graceful entry, Telling Tales, continued her method <strong>of</strong> positing s<strong>of</strong>t groupings <strong>of</strong><br />

hieratic sculptural forms in pastel shades that, though as mute as sarsen stones, cleverly mime a dumb<br />

show <strong>of</strong> functionality, the forms suggestively hinting at handles, k<strong>no</strong>bs, bellies and spouts, implying<br />

possible domestic purpose and conjuring up to-be-imagined stories and meanings.<br />

Using clay and glaze to mimic or evoke aspects <strong>of</strong> the environment occupied a number <strong>of</strong> entrants.<br />

Landscape Inspired in <strong>The</strong> Country by Chris Guthleben was a generously bellied stoneware vase form<br />

dusted in dry glaze with a misty composition suggestive <strong>of</strong> horizon lines and a vaporous sky sprayed<br />

over what could be vacant and distant hilly territory. Ochre Point by Francisca Tyssen, a hand-built pair<br />

1 Silvia Stansfield, Hope, hand-built porcelain, blue pigment brushwork. h.37em, w.16em<br />

2 Stephanie James-Manttan. Impression Vessel, porcelain, wheel-thrown, h.31cm, w.24cm<br />

3 Maria Chatzinikolaki, Alga, slip-cast limoge porcelain, hand-painted decoration, 13000C reduction, tallest, h.9.Scm<br />

4 Maria Parmenter, Telling Tales, hand-bullt stoneware paperday, glaze, various dimensions; photos: Michal Kluvanek<br />


View<br />

Far left leo Neuh<strong>of</strong>er<br />

Visceral Tab leau 1. hand-built<br />

using coils, underglaze<br />

h.2&m w.22cm. d.& m<br />

Left: Philip Hart<br />

Inlaid Bowl. wheel-thrown<br />

inlaid decoration<br />

h.3Ocm w.3Ocm<br />

Photos: Michal Kluvanek<br />

<strong>of</strong> s<strong>of</strong>tly altered cup forms, likewise evoked country, this time far more specifically with the earth ochres<br />

from a particular location.<br />

<strong>The</strong> broad flow <strong>of</strong> landscape and the implication <strong>of</strong> a pilgrim-like movement across its unfolding<br />

horizons was bravely tackled by Angela Walford in Journey, a series <strong>of</strong> wall-mounted raku tiles.<br />

Jane Burbidge also ruminated on nature; her Low Tide <strong>of</strong>fered a set <strong>of</strong> porcelain bowls that<br />

implied the wash <strong>of</strong> a receding tide had left them stained and stranded on a small ripple <strong>of</strong> sandbank.<br />

Burbidge is <strong>no</strong> stranger to utilising strange glazes and weird arcane oxides to evoke comfortably familiar<br />

natural surfaces and textures; in this case, pale sulphate sta ins on the rims mimicking the retreat and<br />

encrustation <strong>of</strong> a salt tide.<br />

For anyone looking closely, the small slip cast Alga Bowls by Maria Chatzinikolaki revealed decorative<br />

organic tropes in the form <strong>of</strong> lyrical trails <strong>of</strong> wonderfully flowing and convoluted passement decoration.<br />

Not an easy feat on these delicate undulating forms, and worlds apart from the metallic, process-derived<br />

crystal matrix on Jennifer Denton's richly scintillating, if rather classically stolid, Crystalline Vase.<br />

Perhaps it was left to both Stephanie James-Manttan and Leo Neuh<strong>of</strong>er to <strong>of</strong>fer the last words on the<br />

organic and the cellular.<br />

James-Manttan's Impressed Vessel deservedly received the award's Art Gallery <strong>of</strong> South Australia<br />

Acquisition Prize and thereby gained entry into the Art Gallery's collection. A simple yet complex work, it<br />

at once married ideas <strong>of</strong> folding and s<strong>of</strong>tness and resilient. hard form. It spoke <strong>of</strong> structure, wobble and<br />

collapse, <strong>of</strong> woven basketry and cellular coralline growth.<br />

Neuh<strong>of</strong>er's coiled work Visceral Tableau 1 was far more difficult: a small undulating rectangular<br />

curtain <strong>of</strong> fleshy form suggesting internal organs, the kind <strong>of</strong> thing you hope you do <strong>no</strong>t have to see.<br />

<strong>The</strong> insides <strong>of</strong> an animal? Perhaps one <strong>of</strong> ourselves? (Life and identity get blurred at the deep visceral<br />

leveL) Displayed as if by an Haruspex, ganglion and intestinal forms that might have been taken from a<br />

satisfyingly livid lithograph in an Edwardian medical home-instruction handbook - at once a direct quote<br />

and an oblique statement. Neuh<strong>of</strong>er, a previous winner <strong>of</strong> the award, is always one to watch.<br />

Stephen Bowers is an Adelaide-based visual artist. An exhibition <strong>of</strong> his ceramics will be held at<br />

the Robin Gibson Gallery in Sydney, October <strong>2011</strong>.<br />


View<br />

<strong>The</strong> Enigma <strong>of</strong> the Humble<br />

Teapot<br />

June Cummings reports on Fusions Teapot Competition Exhibition<br />

More than 30 ceramic and glass artists from around<br />

Australia entered works in the 2010 Fusions Teapot<br />

Competition Exhibit ion. It was hosted and curated by<br />

Fusions (<strong>Australian</strong> Network <strong>of</strong> Clay and Glass Artists) and<br />

held at Gallery Nona, Brisbane Institute <strong>of</strong> Arts Centre, from<br />

28 October to 10 November.<br />

Carol Forster. Shell We Have Tea? 2010<br />

porcelain, raku, slab and slipcast. unglazed<br />

h.2Scm, w.24cm. d.6cm; photo: Dianne Peach<br />

<strong>The</strong> scope <strong>of</strong> works in the two sections <strong>of</strong> the competition<br />

(functional and <strong>no</strong>n-functional) covered a plethora <strong>of</strong><br />

styles - modernist, traditional, ethnic, frivolous, conceptual,<br />

hybrids and the political - along with a variety <strong>of</strong> glazing<br />

and construction techniques. Teapots are steeped in cultural<br />

traditions from Japanese and Chinese ceremonial derivatives<br />

to being at the centre <strong>of</strong> social , family and daily dietary<br />

experiences <strong>of</strong> far-flung British colonies. Conceptually,<br />

because <strong>of</strong> their many appendages, teapots lend themselves<br />

to many interpretations - Alice in Wonderland, huma<strong>no</strong>id, animal and many more - hence they are a<br />

great vehicle for artistic ceramics and glass expression.<br />

National award-winning ceramicist Dianne Peach judged the Teapot Competition Exhibition. Of the<br />

<strong>no</strong>n-functional exhibits, Brisbane's Steven Roberts drew inspiration from stone quarries for his flat,<br />

craggy surfaced, layered clay, white glazed, solid Landscape teapot.<br />

Kim Aitken's enigmatic bird teapot, Cordia Ii Tea , was a combination <strong>of</strong> white porcelain clay slip<br />

construction decorated with random decal stripes, embedded with twisted metal table forks.<br />

Sam Keane's long cylindrical rolled clay teapot, Celebration <strong>of</strong> Ufe, was decorated in a Harlequin<br />

theme, with incising and painted underglazes, and a high-fired, clear glaze, stoneware finish.<br />

Jo Dickson-Undercliffe and Neville Undercliffe have been influenced by early Tibetan teapots in their<br />

work, which they have named Ichari teapots. <strong>The</strong>ir unglazed earthenware teapots are decorated with<br />

white slip, stamped lettering and humped lid with k<strong>no</strong>b.<br />

On a political <strong>no</strong>te, Emma McGregor's grey glazed military tank rolling into battle with its gun turret<br />

spout, cast a realistic shadow.<br />

<strong>The</strong> winner <strong>of</strong> the <strong>no</strong>n-functional section was Carol Forster from the Sunshine Coast, whose entry<br />

Shall We Have Tea was influenced by the besser block breeze wall found in Queensland holiday homes<br />

and repository for all those 'found' treasures. Forster has replicated a breeze wall, or shadow box in<br />

miniature, from combed unglazed raku clay. In stark contrast, she fashioned tiny, superbly delicate and<br />


View<br />

lyrical, white porcelain, individual seashell teapots, which also had elements <strong>of</strong> crocheted tea cosies, and<br />

arranged them in the framed boxes <strong>of</strong> the raku breeze wall.<br />

<strong>The</strong> functional teapots also <strong>of</strong>fered great variety.<br />

South <strong>Australian</strong> potter Angela Walford's Shi<strong>no</strong> Teapo t piece, with its rounded body, wide flat top,<br />

bung handles and small elevated spout, <strong>of</strong>fered a new dimension in teapot design. Its earthy shi<strong>no</strong> glaze<br />

and bold slashes <strong>of</strong> white slip added to the simplicity <strong>of</strong> style.<br />

Fellow Adelaidian Jan Twyerould exhibited her trademark, beautifully thrown, black matt glazed,<br />

porcelain teapots w ith colourful, striped, stencil air-brushed decoration.<br />

Brisbane potter Linda Back's traditional teapots with cane handles proved very popular w ith<br />

buyers. <strong>The</strong> subtle sprayed cobalt. iron and magnesium dry glaze on one <strong>of</strong> the teapots enhanced its<br />

truism.<br />

<strong>The</strong> outstanding winner <strong>of</strong> the functional section was an unpretentious, masterly teapot by ACT<br />

potter Chris Harford. <strong>The</strong> dribbled green treacle glaze appeared spontaneous, pooling into a definitive<br />

dark rim base, articulating the spout and handle from the body and defining the vertical patterning and<br />

horizontal banding. It was purposefully executed with a harmony <strong>of</strong> decoration and function seldom<br />

witnessed.<br />

June Cummings is a journalist and Fusions board member; www.fusions.org.au/wordpress.<br />

1 Jo Dickson and Neville Undercliffe, Ichari Teapot, 20 10, unglazed terracotta , h.27cm, w.2Scm<br />

2 Angela Walford, Shi<strong>no</strong> Teapot, 20 10, h.16cm, w.18cm<br />

3 Chris Harford, #1 Ash Glazed Teapot, 2010, h.17cm, w. 18cm<br />

4 Steven Roberts, Landscape, 2010, layered stoneware clays, h.2Scm, w.l6cm, d.4cm<br />

5 linda Back, Wab; - Japanese Dreaming, 2010. dry stoneware glaze with sprayed cobalt, iron and manganese<br />

h.1Scm, w.12cm<br />

6 Jan Twyerould, #1 Teapot. 201 0, porcelain with airbrushed decoration, h.13cm. w.1Scm<br />

Photos: Dianne Peach<br />


Workshop<br />

Getting a Handle on Findings<br />

for Ceramic Jewellery<br />

Jeweller Roseanne Bartley discusses the principles <strong>of</strong> findings and how they contribute<br />

to the va lue, aesthetic and experience <strong>of</strong> ceramic jewellery.<br />

j<br />

Findings is a term used to cover a broad range <strong>of</strong> jewellery mechanisms<br />

<strong>of</strong> which brooch fittings. ear wires or bracelet clasps are examples. <strong>The</strong>se<br />

small devices. <strong>of</strong>ten metal, enable a piece <strong>of</strong> jewellery to attach or be worn<br />

securely and effectively on the body.<br />

<strong>The</strong> issue faced by many makers <strong>of</strong> jewellery is whether to use<br />

commercial findings or make their own. <strong>The</strong> decision can be a pragmatic, I<br />

simply don't have the time or skill. and to do so would price me out <strong>of</strong> the<br />

market. But I hope this article may help you rethink the design parameters<br />

within which you work and give earlier, if <strong>no</strong>t greater, consideration to the<br />

findings that you use.<br />

If you k<strong>no</strong>w what to look for, commercial findings generally function<br />

adequately. However, one problem to overcome is the aesthetic discord<br />

that occurs between handmade ceramic objects and manufactured findings. Often the intrinsic aesthetic<br />

value <strong>of</strong> a piece is undermined by the use <strong>of</strong> a mis-matched finding.<br />

A successful pairing <strong>of</strong> a machined product with a handmade form is <strong>of</strong>ten compromised by the way<br />

the components (eg. ceramic brooch and metal brooch finding) are bonded. More <strong>of</strong>ten than <strong>no</strong>t a blob<br />

<strong>of</strong> glue finds itself positioned as the middleman doing all the work. <strong>The</strong> problem with glue. aside from<br />

looking unattractive, is that it has to work really hard to compensate for poor engineering. Glue can be<br />

used as the <strong>no</strong>ble assistant (e.g. to lock tight a screw) but it shouldn't affect the main substance <strong>of</strong> the<br />

bond.<br />

<strong>The</strong> material properties <strong>of</strong> clay provide specific challenges when working in combination w ith other<br />

materials. particularly metal. Clay shrinks when fired, it can<strong>no</strong>t be joined by soldering, and it is relatively<br />

weighty, yet fragile. One simple solution might be to provide a recess to situate the finding (e.g. brooch<br />

fitting or ear stud), or to include the fitting as part <strong>of</strong> a frame in which the ceramic piece is set. I would<br />

strongly advise ceramicists who make jewellery to place the same emphasis upon designing the finding,<br />

and its relationship to the wearable object, as they would to the design <strong>of</strong> a handle for a cup . Rather<br />

than being a last minute consideration, findings add intrinsic aesthetic and functional value to a piece.<br />

Ideally they uphold or accentuate the concept or design expressed in the object. When designed and<br />

made well, findings mediate or shape the wearer's experience <strong>of</strong> an object; for the wearer they can be<br />

difference between pleasure, frustration or despair, especially if the piece is lost.<br />

<strong>The</strong>re are many different ways to create a brooch fitting, an ear wire, or a necklace clasp. If they<br />

can<strong>no</strong>t be made by the maker, then it's possible to have them custom made by a jeweller. Alternatively,<br />

a finding design can be drawn up in Illustrator and cut by CNC cutting options. <strong>The</strong>re is <strong>no</strong> rule to<br />

say you must work with precious metals. Materials such as silver or gold add to the value <strong>of</strong> a piece,<br />


Workshop<br />

Opposite page:<br />

Prue Venables<br />

Neckpiece, 2010<br />

porcelain, hand·thrown and<br />

cast, pierced, linen thread<br />

felt, brass<br />

h.7cm, w.7cm d.7cm<br />

Photo: Terence Bogue<br />

Far left: Ma<strong>no</strong>n<br />

van Kouswjik<br />

Re:construction , 2009<br />

cast porcelain with yellow<br />

pigment inside. Gordon<br />

Baldwin glaze, 1260 0 (<br />

nylon thread, length ± 32<br />

em, dram.6·15mm<br />

Photo: Uta Eisenreich<br />

Leh: Ma<strong>no</strong>n van<br />

Kouswjik. Re:model<br />

2003, porcelain, cast<br />

beads: diam.1-2cm<br />

Photo: Suska Mackert<br />

however stainless steel, steel, copper or brass may provide suitable alternatives. <strong>The</strong>se metals can be<br />

powder coated, painted or plated in silver or gold to suit.<br />

I feel it is also timely to encourage makers to think more laterally to investigate the design potential<br />

<strong>of</strong> ceramic jewellery. From the plethora <strong>of</strong> product I have viewed on the market, the aesthetic and<br />

functional terms <strong>of</strong> ceramic jewellery are ripe for challenge and inventiveness. <strong>The</strong>re is great potential for<br />

makers <strong>of</strong> ceramic jewellery to be creative in exploring the materiality <strong>of</strong> clay, in the process <strong>of</strong> making<br />

as well as in the performance <strong>of</strong> wearing.<br />

<strong>The</strong> work <strong>of</strong> two makers I follow demonstrate how engaging with materiality reveals the potential<br />

for intelligence and beauty in the design <strong>of</strong> jewellery made in ceramic. Prue Venables selection <strong>of</strong><br />

Neckpieces (Mossgreen Gallery, Melbourne, September 2010) cleverly incorporated the techniques <strong>of</strong><br />

throwing, casting and piercing porcelain. Venables constructed a perforated spherical pendant form that<br />

had contained within it a smaller perforated spherical form, which had some mobility but could <strong>no</strong>t be<br />

extracted without breakage. <strong>The</strong> rationale <strong>of</strong> this interaction was realised through suspension <strong>of</strong> these<br />

forms via a cord threaded into the interior form. Working together in an interfacial or double skin-like<br />

manner, the two components were engaged in an amusing co-dependence, each required the other to<br />

make sense <strong>of</strong> the self . I enjoyed this subtle performance because it demonstrated how cleverly ceramic<br />

performs as both ornament, finding and joiner (a<strong>no</strong>ther jewellery term for devices that hold parts <strong>of</strong> a<br />

jewel together), thus absolving the need for metal and intermediary that glue is so <strong>of</strong>ten called upon to<br />

do.<br />

THE IOURNAl OF AUSTRALIAN CERAMICS APRil <strong>2011</strong> 69

Worksho p<br />

When makers engage productively with the materiality <strong>of</strong> clay, interesting results emerge. <strong>The</strong> fear <strong>of</strong><br />

breakage was investigated as an intrinsic design feature <strong>of</strong> Re:model, 2003, a ceramic necklace created<br />

by jeweller Ma<strong>no</strong>n van Kouswijk (Gallery Funaki, Melbourne). <strong>The</strong> necklace, made as a single piece <strong>of</strong><br />

connected spheres, is then snapped at several points between the spherical sections, yielding a kind <strong>of</strong><br />

flexibility that enables the piece to be worn like a string <strong>of</strong> ceramic pearls. Van Kouswijk's engagement<br />

with materiality demonstrates, in a literal and poetic sense, the concept <strong>of</strong> 'facture'. This processbased<br />

work reveals something <strong>of</strong> what Lazsl6 Moholy-Nagy (Bauhaus) described, "the way in which<br />

something has been produced shows itself in the finished product. <strong>The</strong> way it reveals itself is what we<br />

call facture.'"<br />

<strong>The</strong>se works by Venables and van Kouswijk reveal the extensive potential for poetry in process in the<br />

creation <strong>of</strong> wearable ceramic objects - two examples <strong>of</strong> artists making interesting work in this area.<br />

Anything is possible if you are prepared to experiment and take some risks!<br />

1 Glenn Adamson, Think.ing Through Craft; pg 59; Berg. UK 2007<br />

References<br />

Young, Anastasia. <strong>The</strong> Workbench Guide to Jewelry Techniques<br />

Thames and Hudson UK 2010; ISBN 9780<strong>50</strong>0515143<br />

Untract, Oppi, Jewelry Concepts and Tech<strong>no</strong>logy; Doubleday &(0. Inc. UK 1987<br />

ISBN 0709196164<br />

Fundamentals for the Design <strong>of</strong> Brooch Findings:<br />

Brooch findings consist <strong>of</strong> a pivoted pin stem and a catch.<br />

• Metal for pin stem must be able to retain spring - stainless steel (dental wire), nickel si lver, or white<br />

gold.<br />

• Thickness <strong>of</strong> the pin is relative to the weight/size <strong>of</strong> the brooch .<br />

• Locate a single pin in the top third <strong>of</strong> the brooch (above the centre <strong>of</strong> gravity) or, alternatively,<br />

• a double pin may locate either side <strong>of</strong> the centre <strong>of</strong> gravity.<br />

• <strong>The</strong> catch opening should face downwards when worn to prevent it from opening and should be just<br />

large e<strong>no</strong>ugh for the pin to fit through. <strong>The</strong> length <strong>of</strong> the pin should extend beyond the outer edge<br />

<strong>of</strong> the catch but <strong>no</strong>t protrude beyond the edge <strong>of</strong> the brooch.<br />

• For added security, a roller catch or a safety chain should be used.<br />

Necklaces/Bracelets Findings<br />

• <strong>The</strong>re are a variety <strong>of</strong> methods - t-bars, s-hooks, bolt rings and sprung catches, magnetic or screw<br />

clasps (the last two have great potential for ceramic purposes!).<br />

• Sterling silver and gold are ideal for making many catches but maybe too s<strong>of</strong>t for some mechanisms,<br />

as they fatigue after repeated use. Stainless steel and white gold have greater tensile strength.<br />

• Certain styles <strong>of</strong> catches suit specific pieces so consider the weight and usage <strong>of</strong> a piece; e.g. a<br />

bracelet may have to be opened with one hand.<br />

• Generally, small catches are used on thin chains, however findings may also be designed as an accent.<br />


Worksho p<br />

Opposite page:<br />

Roseanne Bartley, Blow Flies, 2010, steel, aluminium<br />

ring pu Us, sterling silver, brass. laser cut steel, a<strong>no</strong>dlsed<br />

aluminium, fabricated. h.2.Scm. w.2.Scm, d.lcm<br />

This page:<br />

Roseanne Bartley, Blue Mass, front, (back, see image<br />

below), 2009, found plastic spoons, paint, sterling silver<br />

stainless steel, fa bricated, h.9cm, w.9cm, d.3cm<br />

example <strong>of</strong> a roller catch; photos: artist<br />

Earring Findings<br />

• Pierced ears - either studs, wire hooks or loops (.8 -.9 wire diameter)<br />

• Ends must <strong>no</strong>t be sharp: the end should be filed flat then rounded <strong>of</strong>f and polished.<br />

• Hooks or loops require smooth curves. Start with straight half-hard wire so wire retains shape. Use<br />

sterling silver (fine silver <strong>no</strong>t suitable), alloyed gold (9- 18ct) or, in some instances, stainless steel,<br />

although it is harder to bend.<br />

• Check centre <strong>of</strong> gravity and adjust shape.<br />

• Make multiples and set up basic system <strong>of</strong> measurements to ensure ear wires look the same.<br />

• Stud wire should be approximately 1 cm long with a groove marked around the diameter <strong>of</strong> the wire<br />

2-3mm from the end.<br />

• A butterfly holds the stud onto the ear and the groove helps to locate it.<br />

• Spring or screw clips are used for <strong>no</strong>n-pierced ears.<br />

Cufflinks Findings<br />

• May be rigid or articulated (e.g. swivel back or chain)<br />

• Must be easy to insert with one hand and one end able to pass through a buttonhole.<br />

• <strong>The</strong> two sides <strong>of</strong> a cuff link may be the same.<br />

Roseanne Bartley is a Melbourne-based artist jeweller and writer.<br />

E: roseannebartley@hotmail,(om

Pro cess + Mea ning<br />

From One Place to A<strong>no</strong>ther:<br />

Lugging Molecules<br />

Fiona Fell reveals practice, collaborations, and throwing babies out with bath waters.<br />

It's flooding in Queensland ... I awake from an unprotected<br />

sleep .. mozzie bites from my elbows to my knees. Even in<br />

our sleep our bodies are grappling with unfamiliar surfaces:<br />

sheets that create strange formations from their original<br />

settings, <strong>no</strong>t to mention the internal landscapes <strong>of</strong> our bodies<br />

where organs such as the brain or liver refuse to co-operate<br />

in order to rest. Making figurative sculpture for me is a lot<br />

like this: a constant negotiation <strong>of</strong> a changeable terrain,<br />

sometimes under a deluge <strong>of</strong> unpredictable forces and<br />

natural disasters.<br />

Fiona Fell, Discarding the Break, 2009<br />

stoneware paperclay, h.4Scm, w.22cm, d.8cm<br />

Photo: courtesy artist<br />

Within each work, following material processes <strong>of</strong><br />

manipulating clay through to vitrification and the various<br />

surface treatments employed, I attempt to capture a particular<br />

poetic moment; <strong>of</strong>ten <strong>no</strong>t a pleasurable moment but an<br />

uncomfortable strangeness that forms a voice <strong>of</strong> it's own<br />

and has an urgency to be told. <strong>The</strong> rendering <strong>of</strong> a surface<br />

and the manipulation <strong>of</strong> the physical property <strong>of</strong> material<br />

attempts to expose deeper perspectives via a narrative that is<br />

<strong>of</strong>ten a murky reminder <strong>of</strong> our own faults, our own humility,<br />

weaknesses that transcribe into the importance <strong>of</strong> measuring<br />

our own scars <strong>of</strong> passage.<br />

I <strong>of</strong>ten describe my work as stylised representations <strong>of</strong> the body adhering to basic sculptural concerns<br />

<strong>of</strong> base, figure and extension. When I speak <strong>of</strong> the body as a subject, I talk <strong>of</strong> embodiment and<br />

substance, memory and sensation, feelings that extend beyond our usual senses. <strong>The</strong>se bodies adhere<br />

to memory and are a source <strong>of</strong> agency and empowerment. <strong>The</strong>y also harbour discontent, regret and<br />

retribution; both the corporeal and the metaphysical are in dialogue.<br />

<strong>The</strong> older I become, the more awareness I have around my own body and my fitness and strength<br />

when engaged with the making <strong>of</strong> my work. In collaboration with Raimond De Weerdt (a video and<br />

photography artist with whom I have carried out five previous trans-disciplinary projects), I am taking<br />

on a<strong>no</strong>ther project in the form <strong>of</strong> a clay <strong>no</strong>ir film. This work will attempt to capture the underbelly <strong>of</strong> a<br />

ceramics practice using cinematic devices. Of cou rse there will be the femme fatale character that makes<br />

and destroys the clay and everything around her. <strong>The</strong> initial gathering <strong>of</strong> the material, the constant<br />

lugging and lifting and all the dogged processes will be recorded .<br />

My clay supplier, Bill Bolton on the North Coast <strong>of</strong> NSW where I had my fi rst studio twenty years ago,<br />

told me that "life was simply about lugging molecules from one place to the other", which did <strong>no</strong>t<br />

satisfy the romantic vision I held <strong>of</strong> working with clay at the time, Many years later I think I understand<br />


Process + Meaning<br />

1 Fiona Fell and Lyndall Adams, Peek, 2010, mixed media, h.200cm, w.80cm, d.4Ocm<br />

2 Fiona Fell and Lyndall Adams, One Night Stack detail<br />

3 Fiona Fell and Lyndall Adams, One Night Stack, 2010, mixed media h.200cm, w.135cm, d.55cm<br />

Photos: courtesy artist<br />


Fiona Fell and lyndall Adam" Call, 2010<br />

mixed media, h.19OCm, w.4OCm, d.30cm<br />

Photo: (ounesy artist<br />

where he was coming from. <strong>The</strong> clay <strong>no</strong>ir<br />

collaboration will attempt to emphasise the<br />

physicality <strong>of</strong> clay and the body through all<br />

the steps employed in the making <strong>of</strong> ceramic<br />

work.<br />

<strong>The</strong> figure in the landscape, whether it<br />

is internal or external, has held my interest<br />

and continues to present me with endless<br />

possibilities. <strong>The</strong> hard cover publication <strong>of</strong><br />

Euan Macleod's <strong>The</strong> Painter in the Painting<br />

by Ge<strong>of</strong>frey O'Brien is an accompanying text<br />

to Euan 's travelling twenty-year survey show<br />

that I have recently visited at the Tweed River<br />

Regional Gallery in NSW. I have admired<br />

Macleod 's work as long as I can remember<br />

- the way the ghostly figure forges its way<br />

through the landscape <strong>of</strong> paint, space and<br />

tone. Many works remind me <strong>of</strong> Cormac<br />

McCarthy's <strong>no</strong>vel, <strong>The</strong> Road, while others<br />

<strong>of</strong>fer an insight into the world we only<br />

witness in a glimpse out <strong>of</strong> the corner <strong>of</strong> our<br />

eyes when we are emotionally charged with<br />

heightened sensibilities.<br />

"Do I dwell in my body? <strong>The</strong>n my body and its flesh, this house and the land become metaphors <strong>of</strong><br />

and for each other." 1<br />

As well as making auto<strong>no</strong>mous work, I have more recently been enjoying the challenge <strong>of</strong><br />

collaboration. In 2009 I presented a paper at the <strong>Australian</strong> <strong>Ceramics</strong> Triennale in Sydney titled,<br />

Collaboration as a design tool for ceramic sculpture. This presentation mapped seven collaborations<br />

venturing into the expanding field <strong>of</strong> trans-disciplinary practices involving performance, video,<br />

photography, digital art and drawing.<br />

select and save was the title <strong>of</strong> my most recent collaboration with painter and digital artist Lyndall<br />

Adams shown in 2010 at the Tweed Regional Gallery. This manifestation explored mark-making in<br />

various media as well as investigating domestic and industrial materials that mimicked the architectural<br />

spaces <strong>of</strong> the gallery.<br />

During the period <strong>of</strong> the collaboration, debates surrounding both self-portraiture and representation<br />

were unwrapped. We intended to investigate the idea <strong>of</strong> collaboration between artists being somehow<br />


Process + Meaning<br />

an issue <strong>of</strong> interadions between bodies, performativity, emergence andlor becoming. Adams raises the<br />

question in the artist's statement:<br />

"Are these works self-portraits or a possibility for the self-portrait, if we think <strong>of</strong> self-portraiture as<br />

inviting interadion, interadivity and inter-subjedivity? We are questioning the critical exchange between<br />

artists and possibly between artists and viewer. "2<br />

<strong>The</strong> backdrop images Adam creates through digital manipulation are landscapes made <strong>of</strong> clay marks<br />

and coils; a landscape in which clay rain drives a young woman from her home creating clay coil barriers<br />

too hard to climb, or falling from the sky in an attempt to impale the silhouette <strong>of</strong> the ceramic figure.<br />

Tension is created between the figures. <strong>The</strong> works are simultaneously playful and overwrought,<br />

creating an uneasy anxiety in the viewers as they attempt to unravel the nature <strong>of</strong> the relationship<br />

between figures. <strong>The</strong> use <strong>of</strong> the coils in the installation exposes the adual method <strong>of</strong> making the clay<br />

figures.<br />

Mutual insight into others' methods and processes can be liberating when it comes to pradice-based<br />

research - always a risk, but invigorating as a design process. <strong>The</strong> materiality <strong>of</strong> clay is always the focus<br />

as well as its relationship with the figure. I immerse myself in these processes before returning once<br />

again to where I left <strong>of</strong>f, but having added something new to the work. Consequently, I aim to realise<br />

the potencies <strong>of</strong> all <strong>of</strong> these aspeds and fuse them together in the vitrified entity.<br />

Each new show or, dare I say, body <strong>of</strong> work, hopefully marks a<strong>no</strong>ther shift in my learning and<br />

provides me with e<strong>no</strong>ugh challenges for the future in negotiating the complexities and richness that this<br />

field has to <strong>of</strong>fer. I consider my pradice to be at an exciting threshold where I can move between the<br />

making <strong>of</strong> figurative sculptural works that have conviction to the private moment and collaboration w ith<br />

other artists that engage w ith processes <strong>of</strong> re-imagined outcomes.<br />

1 Reason D.A, <strong>The</strong> Unpainted Lmdsc03pe, 'A hard singing <strong>of</strong> COUntlY', Coracle Press. london. 1987. p33<br />

2 Adams l , <strong>The</strong> intermediate precision <strong>of</strong> naffative, PHD <strong>The</strong>sis. Southern Cross Press, Australia. 2008. piS<br />

Fiona Fell has a commitment to the figure in clay and for many years has addressed issues<br />

integral to the genre <strong>of</strong> figuration in ceramics. A pr<strong>of</strong>essional artist for more than 15 years<br />

and an educator at Tertiary institutions for more than 10 years. Fiona has received several<br />

international grants and exhibits w idely both nationally and internationally. Fiona is<br />

represented by Watters Gallery. Sydney.<br />


Process + Meaning<br />

Concept and Competition<br />

Sophie Milne talks with Kim Brockett and An ita Cummins about the process<br />

<strong>of</strong> curating<br />

Katie Jacobs, Weeping Willows, 2009<br />

Winner, Pan Gallery Ceramic An Award<br />

2009; photo: Corey Sioap<br />

<strong>The</strong> Pan Gallery Ceramic Art Award is unique to ceramics<br />

competitions in that it has a theme, curatorial seledion, and<br />

requires new work to be made specifically for the exhibition.<br />

<strong>The</strong> advantages <strong>of</strong> this approach go beyond the chance <strong>of</strong><br />

securing the $ 1<strong>50</strong>0 prize money. Supporting and promoting<br />

ceramics pradice by encouraging the creation and presentation<br />

<strong>of</strong> in<strong>no</strong>vative artworks, this competition sets the stage for an<br />

exchange <strong>of</strong> ideas between artists and a diverse audience.<br />

<strong>The</strong> most engaging and successful exhibitions are those with a<br />

clear, concise and in<strong>no</strong>vative conceptual basis, providing context<br />

for the work and opening avenues to contemplate and discuss<br />

its merits. With this in mind, guest curators and Pan Gallery staff<br />

collaborate to develop a theme for each award exhibition.<br />

Kim Brockett and Anita Cummins (Craft Vidoria) were<br />

guest curators <strong>of</strong> Bottled (2009) and Table Manners (2010).<br />

Recognising that visual unity is <strong>of</strong> vital importance in a group<br />

exhibition <strong>of</strong> diverse work, Kim and Anita introduced the<br />

requirement that artists, while exploring the exhibition concept,<br />

reference a specific ceramic form.<br />

<strong>The</strong> following is a transcript <strong>of</strong> a conversation that took place<br />

between Kim, Anita and me as we discussed the competition's<br />

merits and complexities.<br />

Sophie: What are the benefits to you, as curators, in having a<br />

theme for the award?<br />

Kim: <strong>The</strong> theme makes it easier to curate l Having a theme means<br />

that, while skill levels will vary, both established and emerging artists have definite content to respond to<br />

and as curators we can then present their work in a cohesive and in<strong>no</strong>vative fashion .<br />

Anita: In the curatorial process, a themed show aids in the representation <strong>of</strong> the work. We can present<br />

works in a way that encompasses the theme - as we did for ##Table Manners##, using three dining<br />

tables on which cups and saucers comfortably sit. From a curatorial perspedive, it is fun and you can do<br />

something different. And a theme encourages artists to make new work.<br />

S: It is <strong>no</strong> small task to make artwork specifically for a seleded exhibition but giving artists parameters<br />

to work within provides a specific challenge and perhaps the opportunity to think beyond the<br />

boundaries <strong>of</strong> their traditional pradice. <strong>The</strong> feedback I have received from many artists is that they enjoy<br />

this process. Even if an application is unsuccessful, creating work for a specific purpose can kickstart<br />

other ideas ...<br />

A : It is challenging, as a lot <strong>of</strong> the artists may <strong>no</strong>t have worked conceptually before. Some artists are<br />

engaged in critical theory and find it important, and for others it is secondary.<br />

S: So how important, in this case, is the artist statement?<br />

K: Attaching a narrative can help us understand the work more, in some cases the objed is enriched by<br />

the story behind it and it becomes more accessible, more engaging.<br />

A: It's also interesting to see how an artist forms an idea, where this leads them and how they chose to<br />


Process + Mean ing<br />


Above: Kim Brockett (left) and Anita Cummins (right) at Bottled, Pan GaileI)', 2009: photo: Richard Brockett<br />

Below: Bottled, Pan Gallel)', 2009: photo: Sophie Milne<br />


Process + Meaning<br />

Nutz Luk Mel Fel. Cheers. 2010<br />

Winner <strong>of</strong> the Pan Gallery Ceramic Art<br />

Award 2010; photo: courtesy artist<br />

produce the work. But in the end. it always comes down to the actual object. It is disappointing when<br />

you don't get a strong artist statement or the work and the statement don't match uP. but we are<br />

aware that these are two very different mediums. written and visual.<br />

K: Of course it is nice when you can just look at the object and appreciate it for what it is without<br />

having to go further.<br />

S: I agree. In this circumstance though. we have asked artists to address a particular subject. A clear<br />

artist statement directly about the submitted work is <strong>of</strong> great value. <strong>no</strong>t just to the selection committee<br />

but also to the audience, many <strong>of</strong> whom may <strong>no</strong>t be familiar with the language <strong>of</strong> ceramics.<br />

A<strong>no</strong>ther issue we face is the representation <strong>of</strong> artworks in images. It is <strong>of</strong>ten quite different seeing the<br />

work when it arrives! How do you respond to this, as curators?<br />

K: You just kind <strong>of</strong> roll with it!<br />

A : It really needs to be a fluid process. We don't come to the shows with a set idea, rather we respond<br />

to the collection <strong>of</strong> works once they have arrived . <strong>The</strong> work and ideas on how to exhibit it need to work<br />

in conjunction with each other.<br />

S: And in regard to installation requirements, what are your thoughts?<br />

K: <strong>The</strong>re is a very fine line here. It is the artist's work and they have every right to be specific, but there<br />

also needs to be understanding that this is <strong>no</strong>t just their show and their work will be seen in relation to<br />

everyone else's.<br />

A: This is where understanding the curator's role is important and artists need to have trust in the<br />

curator's ability to best represent their work.<br />

S: So when entering a show <strong>of</strong> this nature it is important artists are aware that some 'handing over' will<br />

be required?<br />

A: That's right. A large part <strong>of</strong> the cu ratorial process is in arranging the work and being given the<br />

opportunity to present works in a way the artists may <strong>no</strong>t have thought <strong>of</strong> themselves . Of COULSe you<br />

want the artists to be happy and you have their best interests at heart.<br />

s: Would you say then, in this situation, providing installation requirements is only important when it<br />

impacts on the meaning <strong>of</strong> the work?<br />

A: Yes, and this is something that hopefully is addressed in the artist statement.<br />

Discussion, critique and emotional response are major components <strong>of</strong> any art competition. Annual<br />

incarnations <strong>of</strong> the Pan Gallery Ceramic Art Award promise to be varied, with different themes, forms,<br />

curators and exhibitors. What will remain consistent is the drive to provide a unique opportunity for<br />

curatorial exploration and to present and promote conceptual, contemporary, ceramic art <strong>of</strong> the highest<br />

quality.<br />

Pan Gallery accepts curatorial proposals on an ongoing basis.<br />

For more information:<br />

www.<strong>no</strong>rthcotepottery.com.au; http://pangallery.blogspot.com<br />


Process + Meaning<br />

1 Table Manners, Pan Gallery, 2010<br />

2 Tara ShackeR Tea Cups for Me and a<br />

Friend, 2010<br />

3 Gerry Wedd, China , 2010<br />

Photos: Kim Brockett<br />


Inside My Studio<br />

Klaus Gutowski at work. 20 10<br />

Oppo, ite page:<br />

Klaus Gutowski, Auto Mobile, 2010<br />

stoneware, terra sigillata. gold leaf<br />

hand-built with wheel-thrown parts<br />

h.46cm, w.36cm, d.36cm<br />

Photo" Gregory Ackland<br />

In Conversation with<br />

Klaus Gutowski<br />

Vicki Grima: When did you first use clay and what did you make7<br />

Klaus Gutowski: <strong>The</strong> first thing I made out <strong>of</strong> clay was a sugar bowl, approximately 17 years ago. It is<br />

still in use today.<br />

VG: Where is your current studio?<br />

KG: At the moment I work from two studio spaces, one at the Adelaide Potters Club and the other at<br />

Adelaide College for the Arts.<br />

VG: Do you work alone or with others?<br />

KG: Both studio spaces are communal. I enjoy the exchange with other artists and I am always up-todate<br />

with the latest gossip!<br />

VG: How long have you been working in your current studio?<br />

KG: Four years.<br />

VG: What are the essential features a studio <strong>of</strong> yours has to have?<br />

KG: Large kilns I Some <strong>of</strong> my work is larger scale, so I need the right size kiln to fire them.<br />

VG: Describe your work pattern - hours/days/week etc.<br />

KG : If I had my way I'd sleep in the studio and people would bring me food and shove it under the<br />

door. At the moment I'm working in the range <strong>of</strong> 40-<strong>50</strong> hours a week, depending on the amount <strong>of</strong><br />

projects I have on the go.<br />


Inside My Studio<br />

Left: Work in Progress, 2009; photo: Klaus Gutowski<br />

Opposite page:<br />

1 Glaze test, 2010<br />

2 Klaus Gutowski, Worth Fighting For ... , 201 0<br />

stoneware, black terra sigillata, gold leaf, hand·built with<br />

wheel-thrown parts, h.5Ocm, w.32cm, d.21cm<br />

Photos: Gregory Ackland<br />

VG: Describe the work you make in your studio.<br />

KG: I mainly hand-build large sculptural pieces and<br />

vessel shapes, but I also wheel-throw and slip cast if<br />

it's necessary for the realisation <strong>of</strong> my ideas.<br />

VG: What is the most satisfying part <strong>of</strong> your work?<br />

KG: I find the most satisfying thing is to bring an<br />

idea to life.<br />

VG: Why is clay your chosen medium?<br />

KG: I find clay the most versatile medium to work with. You can do almost everything with it, on it,<br />

around it, in it - the possibilities are endless.<br />

VG: Type <strong>of</strong> clay?<br />

KG: I mainly use Walker's PB 103 and Feeney's White Stoneware, but I also experiment with other clays<br />

and my own concoctions.<br />

VG: Type <strong>of</strong> glaze?<br />

KG : I love working with Terra Sigillata, and I'm still experimenting with its possibilities. Recently I have<br />

started exploring the colour range <strong>of</strong> a variety <strong>of</strong> earthenware glazes.<br />

VG: Type <strong>of</strong> kiln/firing?<br />

KG: Electric or gas, whatever gets me to temperature.<br />

VG: List your 3 favourite things that you listen to while working.<br />

KG: My own thoughts, my own thoughts, my own thoughts ! While I'm working on a piece, I'm usually<br />

thinking about the construction, the surface decoration, the firing process etc. to get the best results<br />

relating to my concept. If I'm <strong>no</strong>t thinking about the piece I'm working on, then I'm thinking about the<br />

next one.<br />

VG: How do you identify your work?<br />

KG: I use my signature.<br />

VG: How do you sell your work?<br />

KG: I'm represented in Adelaide by Peter Walker Fine Art.<br />


Inside My Studio<br />

VG: What do you do with your seconds'<br />

KG: I use a hammer to fit them into the bin!<br />

VG : What other jobs, paid or unpaid, fit around your ceramics practice?<br />

KG: I was a chef in my previous life, and I still work in a restaurant once a week.<br />

VG: What is your favourite part <strong>of</strong> the ceramics process?<br />

KG: I love constructing and thinking about how things come together.<br />

VG: What is the dreaded job that never gets done?<br />

KG: <strong>The</strong> paperwork ...<br />

VG: What are you fussy about?<br />

KG : Almost everything, but mainly about my c<strong>of</strong>fee.<br />

VG: If you could change one thing about your studio, what would that be?<br />

KG: I'd love my own big studio with kilometres <strong>of</strong> workbenches and all the kilns I want<br />

(and a forklift) ...<br />

VG: Which single piece <strong>of</strong> ceramics would you most like to own?<br />

KG: One <strong>of</strong> Johann Joachim Kaendler's (Meissen Porcelain) sculptural pieces.<br />

VG: What would you do if you won the lottery?<br />

KG: Create my own artist's heaven.<br />

VG: Exhibitionslworkshops coming up?<br />

KG: I'm participating in a group exhibition at the Brenda May Gallery in Sydney in July 201 1.<br />

E: gutowski@virginbroadband.com.au; M : 0435 230 457<br />


Ceramic Spaces<br />

Christopher Mason. Un titled, 2009, ceramic<br />

h.31.5cm, w.26cm, d.22cm; Private Collection<br />

photo: courtesy Arts Project AustralIa<br />

Precious Moments and<br />

Pure Work<br />

Katie Jacobs discusses Arts Project Australia and the artists who create there<br />

Behind the imposing cement facade <strong>of</strong> 24 High Street in Northcote, amazing things happen. Since<br />

2003, this converted warehouse building has housed Arts Project Australia, a centre <strong>of</strong> excellence that<br />

currently supports around 130 artists with intellectual disabilities, promoting their work and advocating<br />

for inclusion within contemporary arts practice.<br />

<strong>The</strong> lower level accommodates a splendidly cool, quiet and white gallery presenting curated<br />

exhibitions <strong>of</strong> the paintings and sculpture <strong>of</strong> artists who attend the upstairs studios during the week. On<br />

the top floor, where I work, the contrast is marked. Here is a place where kisses in the kitchen, bootscooting<br />

to Leo Sayer and mi<strong>no</strong>r turf wars could occur at any moment. <strong>The</strong> bustling space is alive with<br />

painters, animators, ceramicists, digital artists and printmakers, and at anyone time there will be around<br />

<strong>50</strong> people in the studio.<br />

My role as artsworker at Arts Project Australia is to facilitate, while never directing the art-making<br />

process. As practising artists, artsworkers use their technical art-making k<strong>no</strong>wledge to provide the artists<br />

with the necessary tools and skills to create their own uniquely personal work. I find that the artists<br />

share their own methods <strong>of</strong> working with me, and in this way are an inspiration to me in my own<br />

studio.<br />

One <strong>of</strong> these artists is ceramicist and painter Chris Mason. Mason has a fascination with women <strong>of</strong> a<br />

larger size and recalls the genesis <strong>of</strong> his fascination, when he saw "big fat women back in 1997 on 60<br />


Cera mic Spaces<br />

Right: Christopher Mason. Untitled. 2010 to<br />

present. ceramic. cardboard<br />

h.65cm. w.65cm d.20cm; Private Collection<br />

Below nght: Christopher Mason In the Arts<br />

Project Australia studio<br />

Photos: courtesy Arts Project Australia<br />

Minutes." Sneezing Woman demonstrates his love <strong>of</strong> the<br />

sneeze. and his ability to render the exterior and underlying<br />

structure <strong>of</strong> the voluptuous female body.<br />

Mason is quite sensitive to the coldness <strong>of</strong> winter, and<br />

says that he makes his volumi<strong>no</strong>us women even larger<br />

during this time to make himself feel better, in an effort to<br />

negate the bad weather.<br />

Mason has shown in many high pr<strong>of</strong>ile exhibitions,<br />

including solo shows Michelle and <strong>The</strong> Chris Mason<br />

Show at Arts Project Australia Gallery, Melbourne, and<br />

group show Erotica. curated by Jessica Williams, for James<br />

Makin Gallery in Melbourne.<br />

Impeccably refined detail is observed in Mason's forms,<br />

the hair for instance. or the texture <strong>of</strong> the cellulite. Mason<br />

works from two-dimensional images he sources from the<br />

internet, <strong>of</strong>ten using only one angle <strong>of</strong> a body to create<br />

these complex three-dimensional forms.<br />

Much has been written about the importance <strong>of</strong> touch as part <strong>of</strong> the human experience <strong>of</strong> love. This<br />

tactility is part <strong>of</strong> what draws me to working in clay, and I would suspect many ceramicists would feel<br />

the same way.<br />

I asked Mason what he'd do if he weren't able to make these large women. He agreed that it'd be<br />

frustrating for him <strong>no</strong>t to do his artwork. and said "I'd have to carve them from styr<strong>of</strong>oam or sculpture<br />

plaster like Ron Mueck."<br />

Mason also has a wealth <strong>of</strong> k<strong>no</strong>wledge about snakes and can easily tell a female from a male. One<br />

<strong>of</strong> his current projects is recreating a large female Vietnamese Reticulated Python he calls Hong Mai, in<br />

his studio at home. He makes each delicate scale from cardboard. <strong>The</strong> lifelike nature <strong>of</strong> the artwork is<br />

deliciously terrifying. like watching a horror movie, conveying completely the cold reptilian nature <strong>of</strong> the<br />

snake.<br />


Arts Project Australia studio<br />

One <strong>of</strong> the by-products <strong>of</strong> the ceramics firing process is an awareness <strong>of</strong> the temporal nature <strong>of</strong><br />

humanity. Once fired, the mark <strong>of</strong> the author's hand in the clay is literally ossified, rendering it forever<br />

present in the reading <strong>of</strong> the work. In this way, the human body can be both the maker and the made.<br />

Alan Constable, who attends Arts Project studios full-time, makes internally structured cameras<br />

from glazed ceramic. His working methods, which primarily involve touch suggest a sense <strong>of</strong> weight<br />

and tactility. "Alan's imagination allows him to explore what he k<strong>no</strong>ws exists but can<strong>no</strong>t see, <strong>of</strong>ten<br />

re-inventing where necessary various hidden chambers for film and spools." I<br />

As a child, Constable constructed intricate models <strong>of</strong> cameras from scraps <strong>of</strong> cardboard and glue.<br />

Currently, he uses flat images <strong>of</strong> the camera from 1960s National Geographic magazines to invent lyrical<br />

representations <strong>of</strong> very technical instruments. His finger marks clearly remain within his clay sculptures<br />

as constant reminders <strong>of</strong> humanity. In this way, his ceramic cameras can be viewed as an extension <strong>of</strong><br />

the human body, rather than direct replicas. In his cameras, I see oracular orifices and extendable yet<br />

vulnerable protuberances.<br />

Constable is widely exhibited both nationally and internationally, having shown in Paris (Gal erie<br />

Impaire), New York (Outsider Art Fair) and Portland, Oregon, as well as CoFA in Sydney. Two solo<br />

shows during 2009, at Helen Gory Galerie, Prahran, and the Contemporary Centre for Photography,<br />

demonstrate the breadth <strong>of</strong> his practice and its appeal to many.<br />

An upcoming exhibition at Craft Victoria titled <strong>The</strong> Machine will showcase the ceramic work <strong>of</strong> Alan<br />

Constable and Terry Williams, their ceramic work providing a reflective quiet space in which to admire<br />

the handmade, while also reminding us <strong>of</strong> the constant presence <strong>of</strong> machines in the modern world<br />


Ceramic Spaces<br />

Alan Constable, Untitled, 2007, ceramic<br />

h.24cm, w.12.4cm, d.12.4

Events<br />

Welcome drums. Fuping Pottery<br />

Art Village (fPAV)<br />

Photo: Andrei David<strong>of</strong>f<br />

Banquets, Warriors,<br />

Young Guns and Banter<br />

Andrei David<strong>of</strong>f reports on his experience at I(MEA 2010<br />

<strong>The</strong> 3rd International Ceramic Magazine Editors Association (lCMEA) Conference and corresponding<br />

Emerging Ceramic Artist Competition was held in November at its permanent home, Fuping Pottery<br />

Art Village, which also houses the FuLe International Ceramic Art Museums (FlICAM). <strong>The</strong> conference<br />

was attended by more than 60 international delegates, with a strong <strong>Australian</strong> contingent led by Janet<br />

Mansfield and Vicki Grima.<br />

Ten days <strong>of</strong> intensive talks, discussions, sightseeing, wanton banquet attendance and fireworks<br />

displays were followed by side trips to the porcelain city <strong>of</strong> Jingdezhen and the Lonquan Celadon<br />

Festival. Thrown into this ceramics-fuelled frenzy was the judging and awarding <strong>of</strong> the Emerging<br />

Ceramic Artist Competition, as well as the launch <strong>of</strong> the new Eastern European Museum as part <strong>of</strong> the<br />

FliCAM complex.<br />

With the theme Interpretation <strong>of</strong> <strong>Ceramics</strong>, the conference itself consisted <strong>of</strong> an eclectic range <strong>of</strong><br />

speakers and topics - from ceramic design education in Italy, to the effects <strong>of</strong> the GFC on Midwestern<br />

American production potters. With rapid computer prototyping and ceramic printing in the Netherlands<br />

to an overview <strong>of</strong> ceramic art in Lithuania, it seemed as if issues concerning ceramicists all over the<br />

globe were touched upon. <strong>The</strong> more hotly contested discussions centred around the question <strong>of</strong><br />

ceramics' position in the broader art world, and the need for more critical discussion, as well as the<br />

changing role <strong>of</strong> ceramics magazines in an increasingly digital and fast-paced world. Time for discussion<br />

was limited during the talks and so debates continued during lunches, dinners and several times well<br />

into the night over cold Tsing Taos and Chinese whisky.<br />

<strong>The</strong> Emerging Ceramic Artist Competition, which was judged by the editors attending the conference,<br />

consisted <strong>of</strong> 59 short-listed artists whose works were acquired by FUCAM. Fourteen <strong>Australian</strong> artists<br />


Events<br />

1 Inside the Dome Hall, FPAV; photo: VlCk, Grima<br />

2 Kellie Barnes, Andrei David<strong>of</strong>f and Robyn<br />

Hoskings in the Dome Hall<br />

3 Pottery Workshop student market in J,ngdezhen<br />

Photo: Andrei David<strong>of</strong>f<br />


left: Andrei David<strong>of</strong>f wh:h a big pot in a factory near Jingdezhen<br />

Photo: Kellie Barnes<br />

Above: Sanbao Ceramic Art Institute, Jingdezhen<br />

Photo: Andrei David<strong>of</strong>f<br />

were represented including Kellie Barnes, Kim Goldsmith, Szilvia Gyorgy, Inga Svendsen and me (Andrei<br />

David<strong>of</strong>f). Inga won a month-long residency in Fuping with her beautiful series <strong>of</strong> cylinders. <strong>The</strong> ecledic,<br />

high quality examples <strong>of</strong> emerging pradice further demonstrated the strength, range and uniqueness <strong>of</strong><br />

the work being produced all over the world by young and emerging ceramics artists and potters.<br />

Congratulations also to Tina Byrne who was eleded as the President <strong>of</strong> ICMEA for the next three<br />

years.<br />

In between talks, debates and competition celebrations, the delegates were treated to several enviable<br />

sightseeing opportunities. Seeing the Terracotta Warriors in Xi'an should be on anybody's 'bucket list';<br />

the sheer monumentality <strong>of</strong> the halls which house the excavated pits, as well the individuality <strong>of</strong> each<br />

sculpture, demonstrate a skill and attention as well as organisational capacity, that can only be described<br />

as 'Chinese'. In contrast was the fascinating and humbling experience <strong>of</strong> visiting Chen Lu, a mountain<br />

top pottery village where family-run potteries produce wares for the local markets - slip-casting, wheelthrowing,<br />

decorating and firing within the complexes <strong>of</strong> their family homes. <strong>The</strong> over-romanticised<br />

image <strong>of</strong> the 'unk<strong>no</strong>wn craftsman' was brought into a more realistic light through the evident hardship<br />

<strong>of</strong> their lives, albeit in a beautiful locale.<br />

After the conference, the majority <strong>of</strong> the delegates continued on to a whirlwind three-day tour <strong>of</strong><br />

Jingdezhen. Takeshi Yasuda was kind e<strong>no</strong>ugh to take us around the ceramics student market where<br />

the majority <strong>of</strong> us indulged in some early Christmas shopping, as well as his Pottery Workshop and<br />

internationally re<strong>no</strong>wned Design Studio. Other Jingdezhen landmarks visited included the 'Big Pot<br />

Fadory' and the famous decal shop street. A<strong>no</strong>ther highlight was visiting Jackson U's inspiring mountain<br />

workshop and studio complex, Sanbao. Jackson was gracious in letting us wander around the studios<br />

and kilns, as well as treating us to dinner and a tour <strong>of</strong> his gallery. For those up for a few more days <strong>of</strong><br />

bus travel and each other, the grueling schedule ended with a visit to Longquan (famous for its olive<br />

green celadon), which was celebrating the beginning <strong>of</strong> its month-long celadon festival. Aga in we<br />


Events<br />

Chen lu pottery village: photo: Andrei David<strong>of</strong>f<br />

Pots in Chen lu pottery; photo: VICki Grima<br />

3 fuping pottery workshop: photo: Vicki Grima<br />

4 Terracotta Warriors. Museum, Xi'an; photo: Andrei David<strong>of</strong>f<br />

were treated to banquets, fireworks, traditional dancing and music as well as tours <strong>of</strong> ancient kiln sites,<br />

studios and galleries displaying a myriad <strong>of</strong> exquisite celadon ware.<br />

<strong>The</strong> ICMEA conferences are unique events; <strong>no</strong>t only are they truly international in their outlook, and<br />

held in a location amongst a rich cultural backdrop - an ancient culture, but the hospitality to any visitor<br />

is truly moving. I can<strong>no</strong>t wait to get back to China and discover more for myself; the potential seems<br />

limitless. I will be back in Fuping in 2013 and hope to see you there l<br />

www.andreidavid<strong>of</strong>f.com<br />

Editor's <strong>no</strong>te: See Inga Svendsen's award-winning ceramic work on page 6.<br />


Events<br />

Awesome Clay at Eveleigh!<br />

Back on 7 November 2010, <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association (TACA) facilitated a showcase <strong>of</strong><br />

more than 30 ceramic artists at Eveleigh Market, a monthly Artisans' Market held in the heritage-listed<br />

Blacksmith Workshop opposite Carriageworks in inner city Sydney. Total sales for each <strong>of</strong> the 30 artists<br />

ranged from $20 to $1000, with many selling around the $300 mark . Most participants agreed it would<br />

be worth doing again, with suggestions that the Christmas market in December <strong>2011</strong> would be ideal.<br />

Stay tuned!<br />

Participants: Judy Boydell, Reanne Brewin, Denise Buchen, Joey Burns, Owen Carpenter, Adriana<br />

Christianson, Nicky Coady, Carleen Devine, Szilvia Gyorgy, Helen Hay, Rouge H<strong>of</strong>fman, Serena Horton,<br />

a gaggle <strong>of</strong> Inner City Clayworkers, Gloria Malone, Denise McDonald, Ashley Fiona McHutchison, Aleida<br />

Pu llar, Clarissa Regan, Lindy Smith, David Solomon, Meredith Stewart, Petra Svoboda, John Tuckwell,<br />

Kati Watson, Kari Winer and Jo Wood.<br />

www.eveleighmarket.com.au<br />

1 <strong>The</strong> market setting 2 Clarissa Regan and Petra Svoboda 3 John Tuckwell and Helen Hay<br />

4 Bowls by Carleen Devine; photos: Ashley Fiona McHutchison and Astrid Wehling<br />


Events<br />

1 John Tuckwell demonstrating 2 Amanda Hale, Barbara Mason. Sheila Myers and Ellin Pooley 3 Judy Boydell on her<br />

stall 4 Ashley Fiona McHutchison on the <strong>Australian</strong> <strong>Ceramics</strong> stall 5 Teapots and bowls by Joey Burns 6 Clarissa Regan<br />

demonstrating 7 Bowls by Szilvia Gyorgy S Judy Boydell and Joey Burns 9 Serena Horton and Aleida Pullar 10 Work<br />

by Helen Hay 11 Visitors getting muddy 12 Sowls by Serena Horton<br />

Photos: Ashley Fiona Me Hutchison and Astrid Wehling<br />


Events<br />

Vipoo drinking lavender<br />

tea. trying to stay calm<br />

during the auction<br />

Ceramic Relief - Artists<br />

Respond for Queensland<br />

Inga Walton reports on a recent ceramics auction<br />

It always seems to be the case that those in the arts and creative industries more than pull their<br />

weight in terms <strong>of</strong> philanthropic and charitable endeavours. <strong>The</strong> heartbreaking spectacle <strong>of</strong> the<br />

Queensland flood crisis, followed soon after by Tropical Cyclone Yasi, has again demonstrated the<br />

generosity <strong>of</strong> spirit and sense <strong>of</strong> mutual obligation which characterises <strong>Australian</strong> public sentiment at its<br />

best.<br />

Like many others who were distressed by the unfolding tragedy, Vipoo Srivilasa pondered what he<br />

could do. "After watching the terrible footage on the news, I was so moved I felt like I had to do<br />

something, so I went straight to the Premier's Disaster Relief Appeal web-site to make a donation." he<br />

relates. " However, I didn't feel like I had done e<strong>no</strong>ugh, but being an artist I can only afford so much by<br />

way <strong>of</strong> a monetary sum, but then I realised I could donate my artwork instead. <strong>The</strong>n I thought <strong>of</strong> an<br />

auction <strong>of</strong> ceramics to make the donation a bit bigger."<br />

Srivilasa's call-out for friends and colleagues to contribute exceeded his expectations and he was soon<br />

fielding expressions <strong>of</strong> support from as far away as North America. "<strong>The</strong> response was overwhelming!<br />

I was planning for maybe twenty artists to join me but I reached forty in <strong>no</strong> time; it turned into a much<br />

bigger project than I expected," he admits. "People are very generous, many artists pledged major<br />

pieces, or if they make small works they donated a few pieces as a set. Unfortunately, owing to time<br />

constraints, I was unable to include everything, particularly the kind <strong>of</strong>fers which came through very late<br />

in the process."<br />


- - ------ ------ - - - - ---- ------------- -<br />

Events<br />

12<br />

Artists who donated<br />

work:<br />

Paul Aburrow (VIC)<br />

Julie Bartholomew<br />

(NSW)<br />

Sandra Black 0NA)<br />

Bridget Bodenham<br />

(VIC)<br />

louise Boscacci<br />

(NSW)<br />

Simon Braund (VIC)<br />

Somchai Charoen<br />

(ThailandINSW)<br />

Jacqueline Clayton<br />

(NSW)<br />

Heather Creet (TAS)<br />

Greg Daly (NSW)<br />

Paul Davis (NSW)<br />

Janet DeBoos (ACn<br />

Lynda Draper (NSW)<br />

carole Epp (Canada)<br />

Shan<strong>no</strong>n Garson<br />

(OLD)<br />

Vicki Grima (NSW)<br />

Tatia"a<br />

Gvozdetskaya (VIC)<br />

Ayum; Horie (USA)<br />

lene Kuhl Jakobsen<br />

(VIC)<br />

lrianna<br />

Kanellopoulou (VIC)<br />

Shin Koyama (OLD)<br />

Sony Manning (VIC)<br />

Janet Mansfield<br />

(NSW)<br />

Laura McKibbon<br />

(Canada)<br />

Sophie M ilne (VIC)<br />

Christopher<br />

Plum ridge (VIC)<br />

Jane Sawyer (VIC)<br />

Fleur Schell 0NA)<br />

Avital Sheffer (NSW)<br />

Vipoo Srivilasa<br />

(ThailandIVlC)<br />

Tanawat<br />

Suttasoontorn<br />

(ThailandNIC)<br />

Akio Takamori (USA)<br />

Cyrus Tang (VIC)<br />

Kenji Uranishi (OLD)<br />

Angela Valamanesh<br />

(SA)<br />

Gerry Wed

Wedge<br />

Susie McMeekin<br />

leading Us Where?<br />

I am a potter. I do <strong>no</strong>t consider myself a ceramicist I have been working<br />

with, and developing, my skills for the past 30+ years. It has been a source <strong>of</strong><br />

enjoyment and frustration for me. It has been a lonely journey which at first I<br />

enjoyed, but as I grow older I find that it has isolated me and taken me out <strong>of</strong><br />

the mainstream. It is becoming clear to me that one must remain in the forefront<br />

<strong>of</strong> people's minds if one is to earn a living AND get any kind <strong>of</strong> feedback that is<br />

required to move onwards.<br />

Since I began to pot with my father, Ivan McMeekin, in 1978 the world and<br />

the pottery world has moved on apace. With the ease <strong>of</strong> internet communication<br />

and the access to so much k<strong>no</strong>wledge on the World Wide Web, it seems that<br />

the technical base which I held in great respect has, to a certain extent, been<br />

diminished, taking away the devotion and commitment that the producers <strong>of</strong><br />

great glazes <strong>of</strong> quality and beauty had to have. <strong>The</strong> re emergence <strong>of</strong> China as<br />

an international ceramics manufacturer that produces high quality, cheap, if <strong>no</strong>t<br />

particularly aesthetically beautiful, china, again deals a<strong>no</strong>ther blow to those <strong>of</strong><br />

us who have spent our working lifetime at the wheel, making domestic ware for<br />

discerning clients to purchase and use. <strong>The</strong> craft/hippie movement <strong>of</strong> the 60s and<br />

70s lies in tatters and debate still rages as to why the general public <strong>no</strong> longer<br />

seem to care or take much interest in quality, handmade goods. Is it the demise<br />

<strong>of</strong> the education institutes, particularly in ceramics, or is it that we have failed<br />

to keep up with changing trends and fads that come and go faster than our<br />

ability to perform the necessary research and development to produce the latest<br />

trends? I must, at this stage, put up my hand and say that I am <strong>no</strong>t interested<br />

in doing any such thing. We live in a world where it seems that most things are<br />

throw-away quality; even power tools that I used to save for to make my work<br />

a little easier, are <strong>no</strong>w in cheap abundance. But it does seem that this place our<br />

community is in <strong>no</strong>w, so far as commodities go, is eating into our artistic soul<br />

leaving us reeling and confused about our expression and our place in society. Do<br />

I <strong>no</strong>w see the work at art school shows leaning towards the quirky rather than<br />

the quality? Is it the curriculum and the change <strong>of</strong> the necessary 'outcome' that<br />

has moved the schools in this direction? Is it that the teachers at these schools<br />

are trying to break new ground and, if so, why and where has the simple skill<br />

base gone? Do we <strong>no</strong>w accept that we, as craftsman, will only be treated as<br />

'artists' in the rarefied world <strong>of</strong> contemporary art? Is that actually what the new<br />

generation <strong>of</strong> potters want? I pose this question with absolute sincerity and hope<br />

that we can open up some form <strong>of</strong> communication on this subject because it<br />

causes me a great deal <strong>of</strong> consternation. I want some answers, <strong>no</strong>t only from the<br />

teaching pr<strong>of</strong>ession, but from the students (undergraduates and graduates), from<br />

buyers and camp followers.<br />

I hope that people will take the time to write some thoughts on this issue.<br />

E: sixmax5@bigpond,com

Potters Marks<br />

Potters Marks<br />

Klaus Gutowski<br />

Ruby Pilven<br />

Stephen Benwell Juz Kitson Kris Coad<br />

Brenton Saxby<br />

Sandra Bowkett<br />


Archive: Pottery in Australia, <strong>Vol</strong> 18, No 2 , October November 1979<br />



photographs by Julia Malnic<br />

-a transcript <strong>of</strong> a speech made by Shiga<br />

Shigeo on the opening <strong>of</strong> his retrospective<br />

exhibition at the Japan Information<br />

Centre, August 1979.<br />

Having lived and worked in Australia<br />

for thirteen years <strong>no</strong>w, just before I go<br />

back to Japan I would like to talk about<br />

my work and my philosophy. My English<br />

is <strong>no</strong>t good e<strong>no</strong>ugh to express all I want<br />

to say so I have asked my good friend<br />

Dr. Yamaguchi to help me tonight.<br />

It was thirty-one years ago that I started<br />

to work on pottery and <strong>of</strong> these thirty-one<br />

years I have spent thirteen years in th is<br />

country, all working on pottery. My study<br />

<strong>of</strong> the art <strong>of</strong> pottery started on the basis<br />

<strong>of</strong> my study <strong>of</strong> the art <strong>of</strong> tea, calligraphy<br />

and also that <strong>of</strong> Zen Buddhism.<br />

In Kyoto, the ancient capital <strong>of</strong> Japan, I<br />

went to an art institute and there under<br />

a certain master I started my apprenticeship<br />

in which I matured <strong>no</strong>t only technically<br />

but spiritually. <strong>The</strong> major point I<br />

studied under the master was the technique<br />

<strong>of</strong> glazing but since those early<br />

days I have been studying the whole art<br />

<strong>of</strong> pottery. Today I am aware <strong>of</strong> a sense<br />

<strong>of</strong> maturity with which, by simply looking<br />

at the work <strong>of</strong> other potters I can tell<br />

what that potter's life philosophy may be,<br />

his level <strong>of</strong> expertise and artistry, perhaps<br />

something about his own lifestyle,<br />

even his physical characteristics.<br />

It Is only very recently that I am able to<br />

mix glazes without the use <strong>of</strong> any physical<br />

measures, a weight scale, and so on.<br />

When I studied in Kyoto I used to k<strong>no</strong>w<br />

an old artist. To my great surprise, in his<br />

workshop he simply had mechanical<br />

measure to be used in mixing glazes. I<br />

was astounded that this old master was<br />

able to use his intuition in effecting an<br />

optimal mixture <strong>of</strong> different types <strong>of</strong><br />

glazes and that, furthermore, the end<br />

product <strong>of</strong> that intuitive approach was so<br />

awesome. And yet on the other hand, at<br />

that time, when I was in Kyoto, I was<br />

somewhat dubious and even critical <strong>of</strong><br />

this terribly unscientific approach the old<br />

master adopted. Nowadays, perhaps<br />

because I am ageing or perhaps because<br />

I have accomplished some satisfactory<br />

level <strong>of</strong> artistry, I am <strong>no</strong>w able to understand<br />

a mystique that was with that old<br />

master in Kyoto. I k<strong>no</strong>w <strong>of</strong> a story <strong>of</strong> a<br />

samurai warrior who in ancient times, in<br />

order to test his swordsmanship, olten<br />

went to challenge other samurais but<br />

upon arriving at the residence <strong>of</strong> whomever<br />

he challenged this particutar<br />

samurai simply had a look at the cut end<br />

<strong>of</strong> the stem which was cut by the sword<br />

<strong>of</strong> the one he was to challenge, and he<br />

realized that he would be simply <strong>no</strong><br />

match against him. so he retreated without<br />

even confronting him. I am also<br />

aware <strong>of</strong> a<strong>no</strong>ther famous samurai <strong>of</strong><br />

ancient times, Miyamoto Musashi, who<br />

was the most famous swordsman <strong>of</strong><br />

ancient Japan. When Miyamoto Musashi<br />

went to see a potter by the name <strong>of</strong><br />

Koetsu and saw the way in which the<br />

base <strong>of</strong> a tea cup from which he was<br />

drinking was very skillfully formed, he<br />

real ized there was a definite message<br />

there and that became one <strong>of</strong> the bases<br />

on which Miyamoto Musashl, the warrior<br />

developed his artistry <strong>of</strong> swordsmanship.<br />

I k<strong>no</strong>w <strong>of</strong> an episode <strong>of</strong> a more recent<br />

vintage, that <strong>of</strong> Herrigel, the German<br />

philosopher who is actually a logician<br />

in the fashion <strong>of</strong> Kant. Herrigel went to<br />

Japan at the invitation <strong>of</strong> the University<br />

<strong>of</strong> Tohoku and went there primarily to<br />

study Zen Buddhism but through stUdy­<br />

Ing Zen he went on to study the art <strong>of</strong><br />

archery. <strong>The</strong> way Herrigel studied the<br />

art <strong>of</strong> archery was <strong>no</strong>t really to attain a<br />

bull's eye but rather he spent as long<br />

as 4 to 5 years doing <strong>no</strong>thing but pulling<br />

his bow back and forth, back and forth,<br />

with the arrow never leaving the bow.<br />

Alter 4 to 5 years <strong>of</strong> mo<strong>no</strong>to<strong>no</strong>us and<br />

seemingly endless exercise, Herrigel<br />

decided that there was <strong>no</strong>thing to be<br />

gained from that exercise so he went to<br />

see his master to complain about the<br />

situation.<br />

A few days after Herrigel's appearance<br />

3<br />


Archive: Pottery in Australi a, Vo l 18 , No 2, October Nove mber 1979<br />

at his master's door the masler invited<br />

him in lor supper. This was in the dark<br />

01 midnight and Herrigel saw that in his<br />

master's training hall there was a distance<br />

01 30 metres Irom where he was<br />

standing. <strong>The</strong> master lit incense to create<br />

dim lighting and then instructed Herrigel<br />

to shoot at the target. <strong>The</strong> master told<br />

Herrigel to shoot in the same posture<br />

which he had been practising lor all<br />

those years. When he shot, the l irst<br />

arrow hit the bull's eye and the second<br />

hit the arrow that hit the bull's eye. <strong>The</strong><br />

Japanese way 01 learning, especially in<br />

an artistic sense, locuses on the importance<br />

01 patience. By experiencing long<br />

and sound practice 01 patience which<br />

could be lull <strong>of</strong> agony and at times, perhaps<br />

ecstasy, I feel that it is through<br />

that sort 01 process that one can attain<br />

a certain state 01 truth. I believe that this<br />

particular way 01 attaining truth is <strong>no</strong>t<br />

unique to the Japanese alone. I am<br />

aware that the same truth applies to a<br />

large number 01 very well accomplished<br />

artists throughout the world.<br />

Now, more specifically, when I come to<br />

regard what is really my art, especially<br />

in the formal sense, my most lundamental<br />

premise is Simplicity. You probably<br />

realize that amongst some 01 the<br />

works I have created during my stay in<br />

this country, there are some pieces 01<br />

work complelely white in colour. When<br />

I was creating various pieces with <strong>no</strong><br />

other colour but white, I was actually<br />

going through a very sad part <strong>of</strong> my liIe<br />

in which some 01 my close relatives died.<br />

Those sad days made me search, even<br />

deeper, lor the meaning 01 what human<br />

lile Is all about. And it was with that leeling<br />

01 searching that the colour white<br />

emerged. That was my expression 01 the<br />

stale 01 Ii Ie I was experiencing at that<br />

time.<br />

Since I came to this country I have had<br />

many opportunities in which to reltect as<br />

to what Australia is and what or who<br />

<strong>Australian</strong>s are, and lurthermore, being<br />

in a somewhat objective environment, I<br />

have had many occasions to reltect on<br />

what Japan is. I have also travelled quite<br />

widely within Australia to discover the<br />

incentive <strong>of</strong> the people in this country.<br />

While I was travelling throughout Australia<br />

I came across a myriad <strong>of</strong> scenery<br />

and features which were amazingly<br />

unique to th is country, and <strong>no</strong>thing like<br />

I have ever seen elsewhere. That certainly<br />

had a tremendous impact on me.<br />

I am sure that you would appreciate by<br />

looking at my work which I have created<br />

so far, that I have absorbed immensely a<br />

certain feeling about this country. t can<strong>no</strong>t<br />

exactty pin point what parts <strong>of</strong> this<br />

tand inltuenced my work. but the blue<br />

sky and btue water <strong>of</strong> Sydney certainty<br />

has given me some impetus which, in<br />

turn. came to be reltected in my art<br />

<strong>The</strong>se are <strong>no</strong>t the only signilicant things;<br />

there are many, many, counttess things<br />

which have given impact and inltuenced<br />

my art.<br />

A<strong>no</strong>ther amazing thing which I, myself.<br />

have found whilst looking at all <strong>of</strong> my<br />

work arranged according to chro<strong>no</strong>togical<br />

order, there are more pots in<br />

btack than I ever realized. By looking at<br />

my work in retrospect, I realize that there<br />

has been some inheritance <strong>of</strong> my Buddhist<br />

background which I unconsciously<br />

manifest through my work. This was one<br />

linding, or re-finding, which I have discovered<br />

about mysel'.<br />

Over the past thirteen years I have<br />

worked and lived with you and have had<br />

so many opportunities to rellect on so<br />

many questions. I have recently extended<br />

my thoughts, viewing the complexity and<br />

array 01 the world in which we live as to<br />

what my particular concern is, and I leel<br />

that at least, for me, it is high time to<br />

rethink and redefine what human happiness<br />

really is and means to me.<br />

I am going back to Japan where, <strong>no</strong><br />

doubt, I will continue my life philosophy<br />

and life style as I have done so over the<br />

past thirteen years or so, primarily seeking<br />

truth, goodness and beauty.<br />

I certainly would cherish most pr<strong>of</strong>oundly<br />

the friendship that you have extended to<br />

me and once I have gone, I will certainly<br />

cherish the memories <strong>of</strong> your friendship<br />

even more. So much so that this would<br />

4<br />


Archive: Pottery in Australia, VOI1S, No 2, October November 1979<br />

contribute to further understanding and<br />

rerealization <strong>of</strong> relations.<br />

Finally, I must thank the many people<br />

who have helped me in my life and my<br />

work in this country. It is <strong>no</strong>t possible to<br />

mention names but in particular I would<br />

like to thank the Crafts Board <strong>of</strong> the Australia<br />

Council for sending my pots to<br />

Faenza in 1975, the Consul-General, Mr.<br />

Mizoguchi, Mr. Yotsuya and his staff.<br />


Stoneware, Chun glaze, sprayed copper<br />

glaze decoration.<br />


Stoneware with slip decoration.<br />

5<br />


Well Read<br />

<strong>The</strong> leach Pottery 1952 - NEW DVD Edition<br />

Updated version, with new narration by<br />

American potter Warren MacKenzie<br />

Produced by Marty Gross Produdions 2010<br />

32 minutes, black & white, $40<br />

Now available online<br />

www.australianceramics.com<br />

or call 1300720 124<br />

This DVD and booklet is a delightful package <strong>of</strong> rare and<br />

historic material. I can't recommend it e<strong>no</strong>ugh.<br />

<strong>The</strong> film (the main feature <strong>of</strong> this DVD) was made in 1952 by<br />

members <strong>of</strong> a local camera club in 5t Ives. It was brought to light in 1975 when Marty Gross was visiting<br />

Bernard and Janet Leach to learn more about films made by Bernard in Japan in 1934-35.<br />

Much later, in 2007, Warren Mackenzie (who with his wife Alix had worked at the Leach Pottery<br />

from 19<strong>50</strong>-52) watched the video version <strong>of</strong> the film several times and shared his recolledions <strong>of</strong> that<br />

time and his insights and perspective on the pottery workings, on Bernard Leach, his son David, and the<br />

other staff involved in the seemingly smooth and friendly running <strong>of</strong> the enterprise . <strong>The</strong>se memories<br />

have been ed ited as a commentary to the film.<br />

At times the commentary is succindly clarifying an adion, and introducing the workers and their roles<br />

as the film goes through the process <strong>of</strong> clay preparation and throwing, glazing, decorating and firing<br />

the pots, unpacking the kiln and replenishing the stock shelves and showroom.<br />

But more interesting are Warren's thoughts, asides and judgements as the film progresses. <strong>The</strong>re<br />

is a wonderful chapter showing Bernard in his private room above the pottery contemplating some<br />

<strong>of</strong> his superb drawings <strong>of</strong> pots and choosing the image <strong>of</strong> the jar that he was later shown making to<br />

completion. For Warren, the drawings were paramount - and I almost believed he meant they had<br />

a life the pots could <strong>no</strong>t share - but his final praise <strong>of</strong> the spirit <strong>of</strong> Bernard Leach's pots (still his own<br />

inspiration) settled the matter.<br />

<strong>The</strong> fil m shows Bernard Leach using his treadle wheel to throw and turn a pot, later to be dipped in<br />

dark slip and engraved with a willow pattern. It is intriguing to watch him, always in shirt and tie, and<br />

usually a jacket, working with a pradised ease and concentration.<br />

At that time Bernard did all the decoration <strong>of</strong> the pots made in the studio, whether by David Leach<br />

or Bill Marshall or himself. At one moment, Warren remarks that his time engraving the lids <strong>of</strong> the<br />

porcelain sugar pots was certainly ill spent, and could be better used making individual pots to be sold<br />

at a higher price. But I wonder about this, grateful for those gentle pots, and remembering Bernard's<br />

lively enjoyment when spending time with the 'team'.<br />

I have watched the film perhaps a dozen times, with friends, pr<strong>of</strong>essional and lay potters and<br />

students, (in Japan, Taiwan, Australia, North America and the UK) and it continues to please and<br />


Well Read<br />

Far left:<br />

Bernard leach<br />

Photo: courtesy <strong>of</strong><br />

<strong>The</strong> Bernard Leach<br />

(Stlves) Trust Ltd<br />

Lefl:<br />

Leach and co-workers<br />

Photo: courtesy<br />

Warren MacKenzie<br />

intrigue. All responses have been positive. Perhaps <strong>no</strong>stalgia plays a part in my pleasure - in the late<br />

fifties I was making some <strong>of</strong> those 'standard ware' pots and living in one <strong>of</strong> those old Cornish buildings<br />

near the sea. But I don't tire <strong>of</strong> watching the seemingly casual order <strong>of</strong> a well-run studio: the easy skills,<br />

and intelligent repetition. This is a small wonder we are observing.<br />

<strong>The</strong>re is much more. Warren also made a film in 1952 to use when teaching on his return to<br />

Minnesota. At one point there is a fine sequence <strong>of</strong> Bill Marshall making a teapot, and rare images<br />

<strong>of</strong> Kenneth Quick's throwing; and later, in the section <strong>of</strong> the DVD when Marty Gross has a telephone<br />

conversation with Warren about the film, we see sequences repeated, and learn far more about the lives<br />

<strong>of</strong> the Cornish potters and insight into Bernard's generous approach.<br />

Some still photos from the time are included in the package - one <strong>of</strong> Bernard is a masterpiece - he is<br />

on the winter beach, balanced, it seems, in mid-stride, engrossed in his drawing with his umbrella stuck<br />

upright in the sand .<br />

With the DVD is a fourteen page pamphlet with more intriguing material. An article in the St Ives<br />

Times (August 1923) told <strong>of</strong> an 'interesting visit' with a delightfully elegant description <strong>of</strong> Bernard Leach<br />

throwing: "A touch here, a guidance there, and the clay was lifted from the wheel - a haughty and<br />

lordly flagon, where forty seconds before there had been an un-christened lump."<br />

A week later Bernard replied with a long letter to the ed itor describing his work and philosophy,<br />

ending, "My co-workers and I are glad to demonstrate to anyone on Saturday mornings in the pottery,<br />

and I make <strong>no</strong> secret <strong>of</strong> any process ... and if any process we employ should be <strong>of</strong> help or stimulus to a<br />

student, he is welcome to it." It is a treasure to read, as is the reminiscence, written by Shoji Hamada in<br />

1974, <strong>of</strong> those early days establishing the studio.<br />

<strong>The</strong> printing <strong>of</strong> a discussion between Warren Mackenzie and Marty Gross in 2007 further expands<br />

our picture and understanding <strong>of</strong> Leach and his workshop, while plans <strong>of</strong> the three-chamber kiln and<br />

the Leach Pottery wheel, together with illustrations and a listing <strong>of</strong> some <strong>of</strong> the Leach Pottery standard<br />

ware, completes the picture. A drawing by Bernard, <strong>of</strong> himself as the slave driver, ends the story with a<br />

smile.<br />

Review by Gwyn Hanssen Pigott, Tokyo, December 2010<br />


Au st ralia Wide<br />

act<br />

Form, Fire & Fruition - Ge<strong>of</strong>f Crispin: a<br />

regional pra ctice in clay is the first major<br />

ceramics exhibition at the Watson Arts Centre<br />

(WAC) gallery for <strong>2011</strong>. Touring from the<br />

Grafton Regional Gallery, this exhibition will be in<br />

Canberra until 10 <strong>April</strong> and is <strong>no</strong>t to be missed.<br />

<strong>The</strong> members <strong>of</strong> Canberra Potters' Society (CPS)<br />

are looking forward to welcoming Ge<strong>of</strong>f to<br />

Canberra and are hoping to have the opportunity<br />

to have a workshop with him. Following this<br />

major exhibition, the WAC gallery program will<br />

feature several events showcasing the work <strong>of</strong><br />

local potters. From 21 <strong>April</strong> to 8 May there will<br />

be an exhibition <strong>of</strong> ceramics for the kitchen; the<br />

CPS Winter Fair is from 2 to 13 June; and the<br />

StudentlTeacher exhibition will run from 16 to 26<br />

June. <strong>The</strong> popular CPS Open Day is on Sunday<br />

5 June. See www.canberrapotters.com.au for<br />

details <strong>of</strong> all these events.<br />

<strong>The</strong> first artist in residence for <strong>2011</strong> at<br />

Strathnairn Arts Association will be Robert<br />

Puruntatameri from Tiwi Islands. Robert has<br />

visited Strathnairn before and this residency<br />

has been planned to coincide with the Remote<br />

Communities Ceramic Network project at<br />

the ANU <strong>Ceramics</strong> Workshop. Carol Williams<br />

and Carlene Thompson from the Ernabella<br />

Community will be working at ANU under the<br />

same scheme. <strong>The</strong> three artists will have an<br />

exhibition <strong>of</strong> their work at Strathnairn Gallery<br />

from 9 <strong>April</strong> to 8 May. See www.strathnairn.asn .<br />

au for more information. At this site you will also<br />

find information about the exciting new facility<br />

at Strathnairn, a metal sculpture foundry to be<br />

commissioned later this year.<br />

From 13 to 29 May, Belconnen Arts Centre will<br />

be celebrating its magnificent location on the<br />

shores <strong>of</strong> Lake Ginninderra with On the Edge,<br />

an exhibition <strong>of</strong> sculpture in many mediums<br />

inspired by the lakeside.<br />

Jane Crick<br />

E: janecrick@dodo.com.au<br />

nsw<br />

Many emerging artists who have just completed<br />

their studies will be taking their first steps out<br />

into the galleries. At Back to Back Galleries, a<br />

combination <strong>of</strong> University and TAFE students<br />

shared the space in the first exhibition for the<br />

year. Most impressive were Robyn Bell's possessed<br />

white doll figures looking quite deranged with <strong>no</strong><br />

hair and some with empty eye sockets. Clothed<br />

in white costumes, the images haunt long after<br />

viewing. Imp Heung's black rabbit continues<br />

rambling through Western Art, <strong>no</strong>w inhabiting<br />

GiorgiO de Chirico's surreal landscapes and Paul<br />

Klee's abstract images (see <strong>The</strong> <strong>Journal</strong> o f<br />

Aust ralian <strong>Ceramics</strong>, 47/3, Nov 2008, pages 47<br />

and 48). Landscape has been a strong focus for<br />

Barbara Greentree over the last few years. She<br />

has recently been experimenting with oxides and<br />

collected clay inlay, while Ron Pinkerton's long<br />

years at sea have been a major influence on the<br />

barnacled dry glaze vessels mounted on large<br />

rusted crankshafts.<br />

Newcastle Region Art Gallery will be exhibiting<br />

Gwyn Hanssen Pigott's vessels illustrating the<br />

inspiration derived from Giorgio Morandi's still<br />

life paintings. <strong>The</strong> gallery will bring the work <strong>of</strong><br />

the two artists together in M ore is Less from 5<br />

March to 8 <strong>April</strong>.<br />

Simone Fraser's elegant forms continue to evolve<br />

with a porcelain slip addition over the deep<br />

corrugations and textures, giving the surface a<br />

shell-like surface, interpreting an essence <strong>of</strong> this<br />

vast continent's landscape. Fraser's work can be<br />

seen at Sabbia Gallery in Paddington (Sydney)<br />

from 11 May to 4 June.<br />

Entries for the $<strong>50</strong>00 ceramic prize at the<br />

Muswellbrook Regional Arts Centre are due<br />

on 1 5 <strong>April</strong>. It is an open competit ion on<br />

any subject and is sponsored by the Bengalla<br />

Mining Company Ply Ltd.<br />

Sue Stewart<br />

E: sue@ceramicartist.com.au<br />

qld far <strong>no</strong>rth<br />

Cairns Potters Club (CPC) is <strong>of</strong>fering classes both<br />

for adults and children and I understand that<br />

Tropical North OLD TAFE's ceramic course is filling<br />

up, so hopefully the CPC will have a busy year<br />

ahead.<br />

In November 2010, a group <strong>of</strong> CPC members<br />

held an exhibition, More than just a Pot, in<br />

c.1907 Contemporary Artspace in Cairns, where<br />

they were asked to explore the ceramic medium<br />

beyond it being 'just a pot'. <strong>The</strong> exhibition was<br />


Australia Wide<br />

well received and many pots were sold.<br />

<strong>The</strong> CPC has again agreed to co-ordinate a oneweek<br />

trip to Zumin Village near Lae in Papua<br />

New Guinea. <strong>The</strong> trip will start with a weekend<br />

pottery and dance festival where potters from<br />

the surrounding villages gather to demonstrate<br />

how they make their traditional pots. <strong>The</strong>re will<br />

also be a chance to visit potters in other areas,<br />

an opportunity to experience real PNG village<br />

li festyle. More info on www.cairnspottersclub.<br />

net.au.<br />

All members are busy making ceramic artworks<br />

for our next National Ceramic Exhibition Melting<br />

Pot <strong>2011</strong> from 29 July to 18 September.<br />

More details on www.cairnspottersclub.net.<br />

Lone White<br />

E: lone@tpg.com.au<br />

qld south east<br />

Ou r hearts go out to all our pottery friends<br />

and everyone else in the devastated areas <strong>of</strong><br />

Queensland, Victoria and parts <strong>of</strong> NSW. If you<br />

need assistance in replacing tools, equipment<br />

etc., please contact me and we will endeavour<br />

to assist.<br />

Women artists are coming together, for support<br />

and promotion, to celebrate International<br />

Women's Day with three events opening on<br />

8 March - Forget Me K<strong>no</strong>ts, an ephemeral<br />

event where floating wreaths w ill be filmed at<br />

the Broadwater by Corinne Colbert, Femme<br />

at the Robina Community Art Gallery, and <strong>The</strong><br />

Women's Project at 19 Karen Contemporary<br />

Artspace at Mermaid Beach . <strong>The</strong>se exhibitions<br />

represent a wonderful opportunity for women<br />

artists across all media.<br />

<strong>The</strong> Gold Coast Potters' Association is planning<br />

the second Empty Bowl event on Sunday 19<br />

June. <strong>The</strong> first event, in 2010, raised almost<br />

$<strong>50</strong>00 for the Anglicare Crisis Centre, which will<br />

be the beneficiary again this year. All generoushearted<br />

potters are asked to donate ceramic<br />

bowls and/or ceramic works to our online silent<br />

auction.<br />

For more information, go to<br />

www.goldcoastpotters.com. If any groups in SE<br />

QLD have news they would like to include in the<br />

next <strong>2011</strong> issue please email me.<br />

Happy potting,<br />

Lyn Rogers<br />

E: romeo-whisky@bigpond.com<br />

www.goldcoastpotters.com<br />

sa<br />

Jam Factory Ceramic Studio welcomes six<br />

associates and seven access tenants. New first<br />

year associates are Guy Ringwood, Wayne Mcara,<br />

Hilary Jones and Sophia Philips, along with<br />

continuing second year associates James Edwards<br />

and Maria Chatzinikolaki. <strong>The</strong> ceramics studio is<br />

about to complete a commission <strong>of</strong> more than<br />

1000 bowls for One Magic Bowl coordinated by<br />

Chef Gay Bilson as part <strong>of</strong> the Bigpond Adelaide<br />

Film Festival. <strong>The</strong> making <strong>of</strong> these bowls saw the<br />

return to the studio <strong>of</strong> some well-k<strong>no</strong>wn alumni<br />

including Denise Angus, Stephanie Livesey, Jo<br />

Crawford and Jane Burbidge. Liz Williams and<br />

Richard Spoehr also worked alongside, as many<br />

potters pitched in to finish the bowls in time for<br />

the deadline.<br />

Jam Factory Ceramic Studio will continue the<br />

mentorship program with Indige<strong>no</strong>us artists<br />

Christina Gollan and Daisybell Virgin, and Chilean<br />

artist Sylvia Stansfield. JamFactory gratefully<br />

ack<strong>no</strong>wledges the assistance <strong>of</strong> Arts SA.<br />

Gerry Wedd's current exhibition at Craft Victoria,<br />

In the Woods, takes its cue from the concept<br />

<strong>of</strong> the' <strong>Australian</strong> Gothic', a construction <strong>of</strong> the<br />

<strong>Australian</strong> landscape as both a bountiful utopia<br />

and a hellish place where nature seems uncannily<br />

strange or hostile.<br />

Stephen Bowers had a successful showing at<br />

Lauraine Diggins Fine Art with Larks Tongues<br />

in Aspic. It was well received with three works<br />

purchased for public collections.<br />

Maria Parmenter exhibited at Beaver Gallery in<br />

October 2010. Maria works in porcelain and<br />

stoneware to create works that draw upon<br />

her memories and recollections plus celebrate<br />

the nature <strong>of</strong> recall and explore the beauty <strong>of</strong><br />

everyday paraphernalia.<br />

Philip Hart completed a tile mural for the<br />

Norwood Council documenting the local history,<br />

and Stephanie James-Manttan exhibited her<br />

porcelain vessels in Melbourne and Gulgong.<br />

Planning for the next <strong>Australian</strong> <strong>Ceramics</strong><br />

Triennale (ACn, Adelaide 2012 (28 September -<br />

1 October), is well underway. <strong>The</strong> ACT Steering<br />

104 THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2011</strong>

Australia Wide<br />

Committee is working with Craftsouth and the<br />

ceramics community to create a lively program<br />

<strong>of</strong> international and national speakers. <strong>The</strong><br />

ACT gratefully ack<strong>no</strong>wledges support from the<br />

Australia Council for the development <strong>of</strong> this<br />

event; www.australianceramicstriennale.com<br />

Kirsten Coelho<br />

E: kandd@chariot.net.au<br />

tas<br />

Woodfire Tasmania <strong>2011</strong> is fast approaching<br />

- a four-day extravaganza <strong>of</strong> exhibitions,<br />

presentations, demonstrations, forums and<br />

exhibitions from 28 <strong>April</strong> to 1 May.<br />

Exhibitions will feature the work <strong>of</strong> around<br />

90 wood (and other atmospheric) firers from<br />

Australia and overseas, possibly the biggest<br />

representation <strong>of</strong> wood-fired work seen in<br />

Australia at anyone time - at least nine<br />

exhibitions with work from ten different<br />

countries. <strong>The</strong>re will also be a woodfirers<br />

breakfast market in Deloraine early on Sunday<br />

1 May, followed by an exhibition curated by<br />

Tim Holmes, Vintage Tasmanian Woodfire , at<br />

Reedy Marsh.<br />

For those <strong>no</strong>t yet booked to attend a pre­<br />

Woodfire Tasmania workshop, it's <strong>no</strong>t too late.<br />

Carol and Arthur Rosser are conducting a woodfiring<br />

near Port Arthur; Ian Jones and Moraig<br />

McKenna will conduct a two-day program in the<br />

Tamar Valley; Ben Richardson and Donna Gillis<br />

will welcome workshop participants at Ben's<br />

South Arm pottery; and Barbara Campbell-Allen<br />

will conduct an exciting one-day program at Boat<br />

Harbour. <strong>The</strong> Reedy Marsh workshop is <strong>no</strong>w full.<br />

Go to www.woodfiretasmania.com.au for more<br />

details.<br />

A<strong>no</strong>ther 'must see' in Tassie this month is<br />

Vitrify, an initiative in Hobart being presented<br />

by the Alcorso Foundation in partnership with<br />

the Colville Gallery. <strong>The</strong> Vitrify Alcorso Award<br />

is a newly established $10,000 national annual<br />

prize for ceramics. From 15 <strong>April</strong> to 3 May it<br />

w ill feature the work <strong>of</strong> four finalists : Kim-Anh<br />

Nguyen, Prue Venables, Belinda Winkler and Ben<br />

Richardson. Go to www.vitrify.com.au.<br />

And <strong>of</strong> course, if you've <strong>no</strong>t yet being drawn<br />

into the field <strong>of</strong> Hobart's latest 'magnet', there's<br />

MONA, where David Walsh's dreams all come<br />

true under the one ro<strong>of</strong> (www.mona.net.au).<br />

Neil H<strong>of</strong>fman<br />

E: neilh<strong>of</strong>fmann@Woodfiretasmania.com.au<br />

vic<br />

It has been a busy start to the year in Victoria<br />

with a number <strong>of</strong> exhibitions, awards and<br />

festivals.<br />

In February, Art on the Move - Emergence at<br />

Federation Square commemorated the second<br />

anniversary <strong>of</strong> Black Saturday. Artists were invited<br />

to submit work based on their response to Black<br />

Saturday, and ceramic artist Sue Acheson had a<br />

sculptural piece chosen to be part <strong>of</strong> the visual<br />

art exhibition.<br />

<strong>Ceramics</strong> Victoria held an art exhibition and sale<br />

at Herring Island as part <strong>of</strong> the Summer Arts<br />

Festival. <strong>The</strong> theme, Elemental, was based on<br />

the process and making used in the production<br />

<strong>of</strong> ceramics. <strong>The</strong> award winner was Lene Kuhl<br />

Jakobsen with her work titled Earthly Delights.<br />

Sharron Masson received the Highly Commended<br />

Award.<br />

Stonehouse Gallery at Warrandyte hosted<br />

and sponsored the Tertiary Ceramic Students<br />

Encouragement Award. Two students were<br />

selected by each college to exhibit a body<br />

<strong>of</strong> work w ith the vessel as the theme. <strong>The</strong><br />

exhibitors were Lisa Blanco and Ulrica Trulsson<br />

(Holmesglen), Lyn Cole and Janae Evans (Latrobe<br />

University Bendigo), Janetta Kerr-Grant and Sarah<br />

Schembri (Ballarat TAFE), Esther Konings and<br />

Erica Tursan d'Espaignet (RMID, Caitlin Lowe<br />

and Rachael Negri (University <strong>of</strong> Ballarat, Gemma<br />

Mather and Nola Smith (Box Hill Institute), and<br />

Olga Maxwell and Lisa Scheuerlein (Chisholm<br />

Institute). Anna Maas <strong>of</strong> Skepsi Gallery was the<br />

adjudicator. At the opening, each student was<br />

introduced and asked to speak about their work.<br />

Caitlin Lowe was the w inner <strong>of</strong> the Stonehouse<br />

Gallery Encouragement Award. <strong>The</strong> suppliers<br />

were especially generous in sponsoring further<br />

awards and awards for Ceramic Excellence<br />

went to Lisa Blanco, Janetta Kerr Grant, Esther<br />

Konings, Olga Maxwell, Rachael Negri, Nola<br />

Smith and Erica Tursan d'Espaignet. All the work<br />

was well conceived, well designed and beautifully<br />

THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2011</strong> 105

Australia Wide<br />

crafted. Congratulations to all the participating<br />

students and to Stonehouse Gallery for their<br />

support and encouragement.<br />

It is good to see that Anna Maas from Skepsi<br />

Gallery is once again curating exhibitions in a<br />

wonderful new venue. For more information<br />

go to www.skepsionswanston.com.au<br />

If you have anything you would like included in<br />

the next report, please email me the details.<br />

Glenn England<br />

E: glennengland@optusnet.com.au<br />

wa<br />

<strong>The</strong> annual Fremantle Arts Centre Bazaar was<br />

a particular success for participating CAAWA<br />

members with beautiful weather, many inspiring<br />

gift ideas and, <strong>of</strong> course, that Fremantle<br />

atmosphere. Well done Sandra Black who<br />

organised the CAAWA members' stall. Sandra,<br />

Janis Heston, Cher Shackleton and Stewart and<br />

Trish Scambler opened their studios to the public<br />

the following weekend.<br />

Bela Kotai held an exhibition <strong>of</strong> his magnificent<br />

large pieces in White Gum Valley. This master<br />

craftsman's work can usua lly be seen at Perth<br />

Galleries, North Fremantle, and the Garden Art<br />

Studio in Yallingup.<br />

Congratulations to Elaine Bradley, who graduated<br />

from the Distance Diploma <strong>of</strong> Art (<strong>Ceramics</strong>)<br />

at ANU . Elaine won two prizes, including a<br />

subscription to <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong><br />

<strong>Ceramics</strong> and an opportunity to exhibit at Craft<br />

ACT. Congratulations also to Cher Shackleton for<br />

her inclusion in the next <strong>50</strong>0 Series Lark book,<br />

Raku. Cher is also putting plans into place for<br />

October, to follow up on her great success in<br />

2010 with POTober.<br />

Graham Hay presented a workshop at the<br />

Victoria Park Centre for the Arts. As usual, he has<br />

a full work-load here and overseas for <strong>2011</strong> .<br />

Fleur Schell and her resident artists opened SODA<br />

Studios for a weekend sale <strong>of</strong> truly enjoyable and<br />

ever-changing range <strong>of</strong> work.<br />

Ann Storey showed her recent work as part <strong>of</strong><br />

Opposites Attract, an exhibition in Wanneroo<br />

which celebrated 25 years <strong>of</strong> the Collage Art<br />

Group.<br />

Founder and managing director <strong>of</strong> Venco, Ge<strong>of</strong>f<br />

Hill, was guest speaker for the Study Group.<br />

Janet Kovesi Watt has plans in place for the<br />

coming months' meetings.<br />

Amanda Shelsher showed new figurative<br />

sgraffito works as part <strong>of</strong> Inked at Gallery East.<br />

Sadly there are three deaths to report: Bill Jeffrey<br />

belonged to the <strong>The</strong>rmal Shockers who met<br />

while students at ECU . A sculptor, Bill developed<br />

a small Sculpture Park. He achieved many<br />

accreditations and will be sadly missed by the<br />

ceramics community.<br />

Yvonne Cuff was a lecturer at Goldsmith's<br />

College in London but w ill be remembered in WA<br />

for her book Ceramic Tech<strong>no</strong>logy for Potters<br />

and Sculptors.<br />

Ge<strong>of</strong>f Robertson, kiln manufacturer, also passed<br />

away.<br />

Pauline Mann, T: 0894598140<br />

E: pandpm@westnet.com.au<br />

CAAWA members with their work<br />

at the Fremantle Arts Centre Bazaar<br />

Photo: Philippa Gordon<br />


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jamfactory craft & design<br />

19 morphetl st adelaide<br />

the pug mill<br />

17a rose 51 mile end<br />


derwent ceramic supplies<br />

16b sunderland st moonah<br />


artisan books<br />

159 gertrude st fitzroy<br />

bendigo art gallery<br />

42 view street bendigo<br />

c1ayworks<br />

6 Johnston court dande<strong>no</strong>ng<br />

craft victoria<br />

31 flinderslane melbourne<br />

kazari collector and cafe<br />

4<strong>50</strong> malvern rd prahran<br />

macedon ranges potters<br />

33 yellow gum boulevarde sunbury<br />

national gallery <strong>of</strong> victoria<br />

18051 kilda road melbourne<br />

<strong>no</strong>rthcote pottery supplies<br />

142-144 weston st brunswick east<br />

potier<br />

29 mills 5t albert park<br />

potters equipment<br />

13/42 new 51 ringwood<br />

red hill south newsagency<br />

shoreham rd red hill south<br />

rmit bookshop<br />

330 swanston 51 melbourne<br />

shepparton art gallery<br />

70 welsford st shepparton<br />


fremantle arts centre<br />

I finnerlY st fremantle<br />

graham hay<br />

robertson park artISts studiO<br />

<strong>no</strong>rthbridge<br />

jacksons ceramics<br />

shop 4, 30 erindale rd balcatta<br />

john curtin gallery<br />

kent street, curtin uni <strong>of</strong> tech<strong>no</strong>logy<br />

bentley<br />

potters market<br />

56 slockdale rd o'con<strong>no</strong>r<br />


christchurch art gallery<br />

worcester blvd and monlreal st<br />

christchurch<br />

lopdell house gallery<br />

418lit"angl rd waitakere cicy<br />

Please contact the <strong>of</strong>fice if you<br />

have a suggestion for a new<br />

stockist.<br />

E: mail@australianceramics.com<br />

THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2011</strong> ' 09

Call for papers<br />

aJLi·stralian ceramics<br />

Call for Papers<br />

<strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong> OAC) is excited to an<strong>no</strong>unce a new peer review<br />

section to be incorporated into each issue. Our aim is to publish one article in each<br />

issue.<br />

What is 'peer review'?<br />

A paper written for peer review is <strong>of</strong> a more academic standing than a general article; it is <strong>no</strong>t a<br />

platform for presenting a personal and subjective opinion. While <strong>no</strong>t having to present an argument, it<br />

does have to draw upon existing k<strong>no</strong>wledge in the field to support the author's conclusions and should<br />

<strong>of</strong>fer new information andlor interpretations or alternative insights. This analysis must be substantiated<br />

by comprehensive research - supported by citations - that locates the thesis in context and also allows<br />

the reader to follow up references relevant to their own practice, thus contributing to the ongoing<br />

development <strong>of</strong> k<strong>no</strong>wledge. Sometimes this review process is called 'refereeing'.<br />

<strong>The</strong> JAC is calling for articles focusing on any facet <strong>of</strong> ceramic discourse : contemporary artists and<br />

their works; historical perspectives on artists, art movements or time periods; glaze research; research<br />

papers; technical in<strong>no</strong>vations; and firing research. A wide breadth <strong>of</strong> subject matter is encouraged<br />

and should be <strong>of</strong> interest to ceramicists, potters and sculptors, galleries and collectors, educational<br />

institutions and their students.<br />

<strong>The</strong> themes and deadlines for the remainder <strong>of</strong> <strong>2011</strong> are:<br />

Issue <strong>50</strong>/2, publication 17 July <strong>2011</strong><br />

<strong>Ceramics</strong> and Narrative: Deadline for copy - 3 <strong>April</strong> <strong>2011</strong><br />

Issue <strong>50</strong>/3, publication 20 November <strong>2011</strong><br />

<strong>Ceramics</strong> and Utility: Deadline for copy - 13 July <strong>2011</strong><br />

Papers must conform to the editorial and photographic requirements available on<br />

www.australianceramics.com.Click on the 'Form Downloads' link.<br />

Papers will be blind reviewed by three qualified individuals within the ceramics field. Peer review<br />

methods will be employed to maintain standards, improve performance, and provide credibility.<br />

We look forward to receiving your submissions.<br />

Vicki Grima, Editor, <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong><br />

Dawn Whitehand, Peer Review Co-ordinator<br />

110 THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2011</strong>

Books & DVDs<br />

Onthe Shelf<br />

NEW!<br />

, NEW!<br />

More books are available on www.australianceramics.com<br />


1 <strong>The</strong> Leach Pottery<br />

1952<br />

DVD, 32 minutes,<br />

B&W with narration by<br />

American potter Warren<br />

MacKenzie; 17 minutes<br />

<strong>of</strong> bonus footlge taken<br />

at the pottery in 1952;<br />

14 page booklet by Shoji<br />

Hamada.<br />

AU S40<br />

2 Dry Glazes by Jeremy<br />

Jernegan<br />

AU you need to understand.<br />

create and manipulate satin<br />

malls to very dry surfaces;<br />

how to make and alter<br />

glazes; over 270 formulas;<br />

contemporary artists and<br />

their glazes.<br />

AU 539.95<br />

3 Sex Pots - Eroticism<br />

in Ceramks by Paul<br />

Mathieu<br />

Hardback; A look at the<br />

influence <strong>of</strong> sex and<br />

sexuality in pottery, tracing<br />

the historical trail <strong>of</strong> erotic<br />

ceramics, their connections<br />

to daily life, social and<br />

religious rituals.<br />

AU S89.95<br />

4 Naked Clay - <strong>Ceramics</strong><br />

without Glaze<br />

by Jane Perryman<br />

Paperback; A beautifully<br />

illustrated book covering<br />

finished ceramics and<br />

techniques from international<br />

ceramicists, covering their<br />

ideas and inspiration to<br />

further understanding.<br />

AU 5<strong>50</strong><br />

5. Said el 5adr, 1909<br />

- 1986 Potter, Painter,<br />

Sculptor, Teacher by<br />

Alan Caiger-Smith<br />

A new biography by<br />

Alan (aiger-Smith on the<br />

contemporary Egyptian<br />

poller, Said el Sadr. <strong>The</strong><br />

book includes a personal<br />

reminiscence by Alan<br />

Peascod.<br />

AUS48<br />

3. Modelling Heads and<br />

Faces in Clay<br />

by Berit Hildre<br />

A practical and inwdepth<br />

look: at modelling faces in<br />

clay; step·by-step pictures;<br />

information on choosing<br />

clay and tools, drying work<br />

and natural finishes.<br />

AU 539.95<br />

1. Painting with Smoke<br />

David Roberts Raku<br />

Potter by l ynne Green<br />

Since the first edition<br />

<strong>of</strong> this book (Smith<br />

Settle, 2000) the phrase<br />

'painting with smoke',<br />

coined by David Roberts,<br />

has become part <strong>of</strong> the<br />

lexicon <strong>of</strong> raku ceramics.<br />

AU S75<br />

8. Ben Richardson - Fire<br />

Works DVD and booklet<br />

Th~ DVD and 38 page booklet,<br />

published in <strong>April</strong> 2010,<br />

examines, challenges and<br />

celebrates Ben Richardson'S<br />

dedication to making site·<br />

specific, wood·fired ceramics;<br />

24.5 minutes.<br />

AU S45<br />


ITEM: I0 20 30 40 S0 60 70 S0<br />

All priCes include GST and postage<br />

within Australia.<br />

Name ____________________________ _<br />

Address __________ _____________ _<br />

_ ___ _____ ____ ______ Postcode ___ Country _ _ ___ _<br />

Phone _________________________ Email ________________________________________ __<br />

Cheque (AUS only) 0 MlCard 0 Visa 0 Amex 0<br />

Card Number 0000 0000 0000 0000<br />

Expif\'D.te 0 0 0 0 TOI.II _______ __ <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association<br />


Classifieds<br />



By using state <strong>of</strong> the art digital printing tech<strong>no</strong>logy, Decal<br />

Specialists can produce high quality Custom Ceramic Decals<br />

from original artwork. <strong>The</strong> decorative possibilities with<br />

Custom Decals are only limited by your imagination!<br />

Check out our website: www.decalspecialists.com.au<br />

T: t300 132 771; E: enquiries@decalspecialists.com.au<br />


Only retailer <strong>of</strong> pottery supplies in Inner Sydney; Keane's<br />

days: discount for 5+ bags; wide range <strong>of</strong> tools, glazes,<br />

underglazes; student discounts; 49 King St, Newtown 2042<br />

T: 02 95<strong>50</strong>4433; E: lowekerrie@gmail.com; Mon to Sat,<br />

lOam - 5.30pm 1 Thur.; until7pm.<br />


Quality supplies and friendly service; A wide range <strong>of</strong> clays<br />

and colours, kilns, wheels, slab rollers, pugmills, extruders,<br />

all sorts <strong>of</strong> accessories, materials, glazes and tools.<br />

Shop 13/42 New St, Ringwood VIC 3134<br />

T: 03 9870 7533; F: 03 9847 0793<br />


Sound technical advice, kiln repairs and maintenance;<br />

Clayworks', Walker's and Keane's clay: pottery equipment<br />

and tools; delivery to your door; short courses and regular<br />

specialist workshops; friendly personal service.<br />

Potters Needs Gallery, 75 Curtis St, Oberon NSW 2787<br />

T: 02 63360411 ; F: 02 6336 0898; M : 0418 982 837<br />

E: info@pottersneeds.com.au; www.pottersneeds.com.au<br />


One <strong>of</strong> Australia 's most experienced kiln and furnace<br />

manu-fadurers; Australia's largest range with 40 standard<br />

sizes, custom sizes on request; Clean, effIcient electric and<br />

gas kilns and furnaces; made in Australia, environmentally<br />

friendly. 12 George St, 81ackburn VIC 3130<br />

T: +61 (0)39877 4188; F: +61 (0)398941974<br />

E: info@tetlow.com.au; www.teUow.com.au<br />


Manufacturers and exporters <strong>of</strong> high quality pottery<br />

equipment. Venco manufacture a range <strong>of</strong> pugmills with<br />

output capaCities. suitable for schools and studios through<br />

to high capacity industrial units. Venco pottery wheels are<br />

world regarded for quality and reliability.<br />

T: +6 1 (0)893995265; F: +61 (0)89497 1335;<br />

www.venCO.com.au<br />



Finding Centre: Yoga + Wheel Throwing: 3 - 16 July <strong>2011</strong> ;<br />

Gaya <strong>Ceramics</strong> Centre, Ubud, 8ali; co-ardinated by <strong>The</strong><br />

<strong>Australian</strong> <strong>Ceramics</strong> Association; Instructors - Hillary Kane<br />

and visiting yoga instrudor(s); Group leader - Vicki Grima;<br />

Suitable far all levels; USD $2300 (land content only).<br />

Contact <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association for more<br />

information or to express interest; T: 1300 720 124<br />

E: mail@australianceramics.com<br />


<strong>2011</strong> small personalised tours to France<br />

14-30 May: Painting in Provence; 2-1 6 June: lavender,<br />

potters' market, studios, hilltop villages; 23 June-7 July:<br />

Music and Pottery tour, jazz festivals; 17-30 August: Art In<br />

August, Discover the Dordogne; 1-15 September: Painting<br />

in Paris and l olling on the loire; 18 September-2 October:<br />

Beaujolais. Burgundy and Alsace - wine, pottery; contact<br />

Jane: jane@zestefrenchtours.com; T: 03 9844 2337<br />

M: 0422 942 216; www.zestefrenchtours.com<br />

GROUPS<br />


CSG holds monthly meetings in Epping NSW and occasional<br />

workshops with guest demonstrators from Australia and<br />

overseas. We maintain an up-to-date library <strong>of</strong> books.<br />

magazines. videos and DVDs and we publish a monthly<br />

newsletter. We are an ideal forum for experienced potters as<br />

well as beginners and students, to learn and network.<br />

E: csgsecretary@hotmail.com<br />

www.ceramicstudygroup.org.au<br />



ceramic mass production and artworks. Ceramic design<br />

service also available. Contact Somchai T: 02 9703 2557<br />

M : 0401 359 126: E: eatandclay@gmail.com<br />


<strong>The</strong> original VP mold range is still available - made to order;<br />

classic <strong>Australian</strong>-designed and made molds specializing in<br />

utility pieces, slump and drape molds; plates, mugs, vases,<br />

bowls, dinner sets shipped anywhere at competitive rates;<br />

for pictures and price lists go to www.vanpacific.com.au;<br />

T: 0434 421 1<strong>50</strong><br />


FOR RENT<br />

Family house in lovely rural setting with largish studio<br />

attached and electric kiln (64cm high); from May 10 October<br />

<strong>2011</strong>; S200 per week; situated near Wyndham, far south<br />

coast NSW. Contact Biliinsch: billybobinsch@yahoo.com.au<br />


Pan Gallery is a Melbourne exhibition space encouraging the<br />

creation and presentation <strong>of</strong> in<strong>no</strong>vative ceramic artworks.<br />

Representing a balance <strong>of</strong> emerging and established artists.<br />

Pan Gallery accepts proposals to exhibit throughout the year.<br />

142 - 144 Weston Street Brunswick East VIC 3057<br />

E: pangallery@bigpond,com; www.<strong>no</strong>rthcotepottery.com.au<br />



Photo documentation <strong>of</strong> artists' and<br />

collectors' works at competitive rates;<br />

contact Chris Sander.;, T: 0411 489 680<br />

=~~~ -. www.christophersanders.zenfolio.com<br />


Classifieds<br />


Providing craft artists with dIgital and traditional photogra·<br />

phy. including graphic design to print or electronic media.<br />

AssoCiate AtPP (<strong>Australian</strong> Institute <strong>of</strong> Pr<strong>of</strong>essional<br />

Photographers). Over 30 yrs experience in various advertising,<br />

corporate and government projects. Drummoyne NSW<br />

2047 Australia; T; +61 (0)29181 1188 M; 0411 107744<br />

E: greg@gregpiper.com.au; WIIffl.gregpiper.com.au<br />



Offering photographic, photo finishing and graphic design<br />

services. providing high quality images and artwork, while<br />

working closely with clients to provide a high level <strong>of</strong> personal<br />

customer service. Riverview. NSW; t 0432 288016<br />

E: paul.symons@straightshooterdigital.com.au<br />

W'\o\W,stralghtshooterdigital.com.au<br />



Affordable, designed for strudural integrity, lightweight;<br />

also for hire. Roger Fenton, St Ives, NSW<br />

T; 02 9488 8628; F; 02 9440 1212; M; 0417 443 414<br />


HOT TO POT WORKSHOPS at Moon,hill, Tarago<br />

(nr. Goulburn)<br />

23 andl or 25 andl or 26 June <strong>2011</strong> (Thurs, Sat, Sun):<br />

Pots for Primitive Firing - 2 day workshop (any 2 days <strong>of</strong> 3):<br />

coiling, burnishing, slip and sgraffito, S 176; 3 July <strong>2011</strong><br />

(Sun); Teepee Firing - one day workshop; build and fire<br />

teepee-style kiln, S88; bookings essential for workshops;<br />

conlad Jane TIf; 02 6161 0806; E: janecrick@dodo.com.au;<br />

or go to \NWW.janecrick .netfirms.com<br />


9-14 M ay <strong>2011</strong> ; Owen Rye Master Class in the Sturt<br />

Pottery; 4-8 July: Sturt Winter School: Get creative in the<br />

holidays and jOin other like·minded people at Sturt's unique<br />

Southern Highlands campus; 15 different courses, meal and<br />

accommodation packages also available; full details <strong>of</strong> all<br />

courses at www.sturt.nsw.edu. au or call 02 4860 2083.<br />


Classes for beginners to advanced with Gary Healey;<br />

clay/projects chosen to suit skill levels; Balv...yn, Victoria;<br />

TIf; 03 9816 3012; E; ashglazes@gmail.com<br />


<strong>Ceramics</strong> classes, day & evening. Monday to Friday. week.·<br />

end & holiday workshops; Teaching artists: Barbara Campbell-Alien,<br />

Kwi Rak Choung & Petra Svoboda. Begmners and<br />

advanced students welcome. Work.shop Arts Centre, 33<br />

Laurel Street, Willoughby NSW 2068; T; 02 9958 6540;<br />

E; admin@vvorkshoparts.org.au;wvvw.workshoparts.org.au<br />



This well established co-operative is run by a group <strong>of</strong><br />

pr<strong>of</strong>essional potters and ceramic artists. For information<br />

about upcoming exhibitions, membership and the hiring <strong>of</strong><br />

the gallery space go to www.clayworkers.com.au.<br />

Cnr St Johns Rd and St Johns Rd Glebe NSW 2037<br />

TIf; 02 9692 9717; www.clayworkers.com.au<br />



<strong>The</strong> Diploma <strong>of</strong> <strong>Ceramics</strong> is a skills-based course delivered<br />

by specialist staff in a well resourced studio. Studies in<br />

all aspects <strong>of</strong> ceramic process and design, and first hand<br />

experience with firing a wide variety <strong>of</strong> kilns, as well as<br />

diverse arts business strateg ies, provide students with<br />

a solid foundation from which they can build careers as<br />

independent arts praditioners. Contact Judith Roberts,<br />

T; 03 9212 5398; E; iudith.roberts@chisholm .edu.au<br />


Holmesglen Chadstone Campus: Diploma <strong>of</strong> <strong>Ceramics</strong><br />

<strong>The</strong> scope and vision <strong>of</strong> our Diploma <strong>of</strong> <strong>Ceramics</strong> Course at<br />

Holmesglen is to prepare students for a career in ceramic<br />

art. We provide a pr<strong>of</strong>essional, well equipped studio environment<br />

and the staff are recognized, practising artists. Our aim<br />

is to inspire individual development and encourage ongoing<br />

levels <strong>of</strong> inquiry.<br />

Kim Martin, Course Coordinator <strong>of</strong> <strong>Ceramics</strong> and Visual<br />

Arts, T: 03 9564 1942; www.holmesglen.edu.au<br />


<strong>The</strong> Newcastle Art School campus <strong>of</strong>fers Diploma and<br />

Certificate IV, full time and part time in <strong>Ceramics</strong>. All aspects<br />

<strong>of</strong> ceramics are explored (technical. practical & theoretical).<br />

Dedicated staff include Paul Davis, Helen Dunkerley and<br />

Sue Stewart who are all pr<strong>of</strong>essional exhibiting ceramists.<br />

<strong>The</strong> ceramics department has well equipped studios and a<br />

gallery on site. <strong>The</strong> campus is located in the cultural precinct<br />

and is within walking distance to seven galleries.<br />

Contact Sue Stewart: sue@ceramicartist.com.au or<br />

Christina Sykiotis: Christina.Sykiotis@tafe.nsw.edu.au<br />


<strong>Ceramics</strong> as a major study IS <strong>of</strong>fered on the Bendigo campus<br />

in the Bachelor <strong>of</strong> Visual Arts course at La Trobe Visual Arts<br />

& Design. Ho<strong>no</strong>urs is <strong>of</strong>fered to high achieving students<br />

wishing to develop their practice to an advanced level,<br />

allowing entry into post graduate Masters or PhD by<br />

research within ceramics.<br />

Contact Tony Conway, 1: 03 5444 7217<br />

E: a.conway@latrobe.edu.au<br />


BFA Ceram ics is <strong>of</strong>fered 3 years full time; BFA Ho<strong>no</strong>urs - 1<br />

year part time; MFA part time or full time. Public Programs<br />

- Winter School; 4-8 July - A WEEK ON THE WHEEL with<br />

SANDY LOCKWOOD. Semester 2 Short Courses: Saturdays,<br />

lOam - 4pm, 6 sessions commencing 23 July: KWI RAK<br />

CHOUNG. <strong>The</strong> <strong>Ceramics</strong> Dept maintains an artist in residence<br />

program, international exchanges and visiting artists.<br />

Contad Merran Esson, 1:02 9339 8630; E; merran.esson@<br />

det.nsw.edu.au; WWN.nas.edu.au; Forbes St, Darlinghurst.<br />


Introducing a new course structure in 2012 - Contemporary<br />

3D concepts in ceramics, including hybrid courses in gold<br />

and silversmithing, mixed media, and sculpture; BA Fine Art<br />

(full-time); Post-Graduate Studies by Research and Coursework<br />

(full-time & part-time); contad Sally Cleary, Studio<br />

Coordinator, T; 03 9925 3858; E: saUy.cleary@rmit.edu.au;<br />

www.rmit.edu.au/art<br />


Classifieds<br />


Certificate. Diploma and Advanced Diploma Courses in<br />

<strong>Ceramics</strong>. Courses require application.<br />

Enquiries: John Stewart T: 02 6623 0218<br />

E: john .stewart@tafensw.edu.au<br />


Hornsby and Northern Beaches College <strong>of</strong>fer accredited<br />

qualifications from Certificate to Advanced Diploma levels as<br />

well as short specialist programs for both the beginner and<br />

advanced ceramicists. For more information,<br />

E: nsi.ceramics@tafensw.edu.au. For general course and<br />

program enquiries call 131 674 or go to<br />

www.nsi.tafensw.edu.au<br />


Certificate and Diploma courses in ceramics - full and<br />

part-time attendance; <strong>no</strong>w <strong>of</strong>fering Advanced Diploma<br />

online. Cnr Kingsway and Hotham Road, Gymea NSW<br />

T: 02 9710 <strong>50</strong>01 : F: 02 9710 <strong>50</strong>26<br />

www.sit.nsw.edu.aulceramicslgymea<br />

<strong>50</strong>12<br />

17 July <strong>2011</strong><br />

Focus:<br />

Ceramia + Utility<br />

Deadline lor copy:<br />

2 May <strong>2011</strong><br />

<strong>50</strong>13<br />

20 November <strong>2011</strong><br />

focus:<br />

<strong>Ceramics</strong> + Narrative<br />

Deadline IOf copy:<br />

12 September <strong>2011</strong><br />

5111<br />

1 <strong>April</strong> 2012<br />

<strong>50</strong>th Anniversary<br />

Issue<br />

Deadline fOf copy:<br />

6 February 2012<br />


To work creatively with clay is to<br />

play with the elements; earth, fire,<br />

air and water in combination with<br />

intellectual and practical skills.<br />


Develop your ceramics practice at<br />

Australia 's longest continuing art<br />

school with a degree or short course<br />

that will engage and inspire you.<br />

<strong>The</strong> <strong>Ceramics</strong> Department is one <strong>of</strong><br />

the best equipped in Australia and<br />

maintains a vibrant enhancement<br />

program including artists-inresidence,<br />

international exchanges<br />

and visiting artists to provide an<br />

enriched environment for developing<br />

individual work through specialisation.<br />


(CERAMICS) 3 years full-time<br />


1 year full-time<br />


part-time or full-time<br />


Winter School: 4-8 July <strong>2011</strong><br />


Merran Esson,<br />

Subject leader - <strong>Ceramics</strong><br />

(02) 9339 8744 nas@det.nsw.edu.au<br />

www.nas.edu.au<br />

~ARr "c<br />

l~~~~~<br />

'%~ ~<br />

'I-"'A#<br />


NSW 2010 AUSTRALIA<br />

T (61 2) 93398744 www.nas.edu.o u<br />

CRICOS Provider Coda 031978

Hot to Pot<br />


Full details available at<br />

w_.janecrlck.netflrms.com<br />

Or phone (02) 6161 0806<br />

COLOURS Rockwood Pigments, Cesco,<br />

Walker <strong>Ceramics</strong>, Clayworks, Deco,<br />

Chrysanthos CLAYS Bendigo, Bennetts,<br />

Blackwattle, Clayworks, Feeneys, Keanes,<br />

Northcote, Walkers EQUIPMENT extruders,<br />



PTY LTD<br />

wheels, slab rollers,<br />

ACCESSORIES Brushes, corks,<br />

kiln shelves, etc MATERIALS<br />

and more GLAZES Powder and<br />

Clay tools, Kemper, Giffin Grip and Lidlqllll81elr.<br />

116 THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2011</strong>

Studio-based courses<br />

Full and part-time<br />

Wheelwork Tableware<br />

Handbuilding Sculpture<br />

Contemporary Installation<br />

Mouldmaking & Casting<br />

Decorating Techniques<br />

Glaze & Kiln Tech<strong>no</strong>logy<br />

Raku & Woodfiring<br />


DESIGN<br />

STUDIO<br />

www.sit.nsw.edu.au/ceramics/gymea<br />

Cnr<strong>The</strong> Kingsway & Hotham Road<br />

Gymea NSW 2227<br />

Tel: (02) 9710 <strong>50</strong>01 Fax: (02) 9710<strong>50</strong>26<br />

Marian.HoweI12@det.nsw.edu.au<br />

Photography: Stephen Cummings

quality pottery supplies and services<br />

Northcote Pottery Supplies Pty Ltd<br />

142 - 144 Weston Street<br />

Brunswick East 3057<br />

(PH) 0393873911<br />


www.gregpiper.com .au<br />

ceramic fine art photography<br />

location or studiO<br />

!he fusion <strong>of</strong> photography and [ViJphic desI9(1<br />

I"IltII trar'lllonaf Ind dlgltai t&dlrla/ogy<br />

p. 6' 2 9'81 1188 - m."' (0) 411 107744<br />

drummoyne, sydney, australia<br />

Gaya <strong>Ceramics</strong> Centre, Ubud, Bali<br />

co-ordinated by <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association<br />

3 - 16 July <strong>2011</strong><br />

Finding Centre: Wheel Throwing + Yoga<br />

Group leader - Vicki Grima; Instructors - Hillary Kane<br />

and visiting yoga instructor(s); Suitable for all levels<br />

Cost USD $2300 (land content only)<br />

Contact <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association for more information<br />

or to express interest.<br />

T: 1300 720 124 E: mail@australianceramics.com<br />

120 THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2011</strong>

creating with paper<br />

Supplying a unique range<br />

<strong>of</strong> tissue transfer papers<br />

a::<br />

w<br />

VI<br />

«<br />

a::<br />

u..<br />

w<br />

Z<br />

o<br />

L<br />

VI<br />

Sabbia Gallery I<br />

120 Glenmore Rd, Paddlngton, Sydney<br />

NSW 2021, AUSTRALIA<br />

www.japancrafts.com.au<br />

0294188527<br />

T: 61 2 9361 6448, F: 61 2 9360 4478<br />

E: gaUel)@sabbiagaUery.com; www.sabb,agallerycom I<br />

Tuesday to Friday. I I am - 6pm; Saturday, I I am - 4pm<br />

,<br />

THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2011</strong> 121

loo/($<br />

differenF ?<br />

clever design prevents<br />

"""" water / slip from getting<br />

under wheel head for<br />

marine grade aluminium easy cleaning<br />

wheel head 33cm (13")--­<br />

" bat pins<br />

marine grade aluminium tray<br />

* 10 yr warranty on breakage<br />

* easy clean with large drain hole<br />

* wooden side trays also available<br />

easy clean control pad<br />

* aux. speed control buttons<br />

fwd/rev<br />

* auto turn-<strong>of</strong>f (power saving)<br />

clip-on seat (optional)<br />

• padded & adjustable<br />

• stainless steel frame<br />

~ stainless steel body & legs<br />

• <strong>no</strong> rusting<br />

• ergo<strong>no</strong>mic curved design<br />

• table-top kit included<br />

low pr<strong>of</strong>ile footpedal<br />

• high impact<br />

powerful direct drive motor<br />

• stainless steel &<br />

• <strong>no</strong> belts - maintenance free polycarbonate , III<br />

/"ecAJJ$e y<br />

• 3/4hp permanent magnet motor I'.f- 1$ ...<br />

• super smooth and responsive<br />

• very quiet and smooth .rltaf;$ V, CA_,Y'-' - ------.......<br />

,-_________... Y features<br />

- 5<strong>50</strong>W permanent magnet motor<br />

- dedicated intelligent control system<br />

- low pr<strong>of</strong>ile lootpedal<br />

- smooth, powerfUl and uttra quiet<br />

- forward I reverse<br />

- auto tum-otl & ovef1oad protection<br />

- 110-240V <strong>50</strong>_<br />

- '0 year warTllllty on tJay and frame<br />

options<br />

- dip-on marine ply shelves<br />

- riser bal and standard bats<br />

- stand-up and lablellloor kits<br />

Also dVdlldPle:<br />

VENco sldP roller

Hillary Kane<br />

in Australia<br />

Two 2-day workshops with Hillary Kane<br />

from Gay. Ceramic Arts Centre<br />

Canberra Potter's Society<br />

1 Asplnal St, Canberra ACT<br />

$155 per pern>n ($140 members <strong>of</strong> rACA)<br />

Contact: Canbetra Potier's Society<br />

T 02 6241 1670<br />

_.caIItIbet_,""apo_llllter lans .• com.au<br />


A two day workshop with Petra Svoboda<br />

Saturday 9 + Sunday 10 July <strong>2011</strong><br />

Workshop Arts Centre<br />

33 Laurel Street. Willoughby NSW 2068<br />

This two day Printing on Clay workshop will cover<br />

techniques <strong>of</strong> silkscreen printing Images onto clay by<br />

using the Riso/Gocco machine. as well as perfecting the<br />

photocopy lithography method. a type <strong>of</strong> direct printing<br />

from photocopies onlo leal her hard clay.<br />

$210 per person ($190 members <strong>of</strong> TACA)<br />

For further information and bookings:<br />

<strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association<br />

T, 1300720124 F, 02 9369 3742<br />

E; mailraaustralianceramics.com<br />

www.australianceramics.com<br />


<strong>Ceramics</strong><br />

Photograph'y<br />

all Images token<br />

are prepared for<br />

web and print<br />

PoulSymons<br />

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Kiln repairs. maintenance and<br />

restoration by Ian <strong>The</strong>yers.<br />

a licensed industrial electrician<br />

Sound technical advice<br />

Friendly personal service<br />

Wonderful range <strong>of</strong> clays­<br />

Clayworks. Walkers and Keanes<br />

Pottery equipment and tools<br />

Short pottery courses<br />

Regular specialist workshops<br />

New exhibition space -<br />

Potters Needs Gallery<br />

Delivery to your door<br />

Potters Needs is operated by<br />

Victoria and Ian <strong>The</strong>yers<br />

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124 THE JOURNAL OF AUSTRALIAN CERAMICS APRil <strong>2011</strong>

Specialist ceramics<br />

training facilities<br />

TAFE NSW - Northern Sydney Institute<br />

Beginners and<br />

pr<strong>of</strong>essional<br />

ceramicists<br />

are welcome<br />

Come and train in some <strong>of</strong><br />

Australia's most outstanding<br />

ceramics training facilities<br />

featuring the latest<br />

pr<strong>of</strong>essional equipment and<br />

spacious, natural light-filled<br />

design studios.<br />

Both colleges <strong>of</strong>fer fast-track<br />

specialist programs and a full<br />

range <strong>of</strong> nationally accredited<br />

qualifications.<br />

<strong>The</strong> facilit ies include:<br />

> Raku kilns<br />

> natural gas and LPG kilns<br />

> electric kilns<br />

> wood fired kilns<br />

> an extra large trolley kiln for sculptural work<br />

Courses include:<br />

> Nationally accredited qualifications<br />

Certificate level III, /1/, Diploma and Advanced Diploma<br />

Part-time, full-time, day or evening courses available.<br />

Hornsby College<br />

205 Pacific Highway, Hornsby NSW 2077<br />

Northern Beaches College<br />

154 Old Pittwater Road, Brookvale NSW 2100<br />

For more information about the ceramics training facilities<br />

and services available, email: nsi.ceramics@tafensw.edu.au<br />

For general course and program enquiries:<br />

Call 131 674 or go to www.nsi.t afensw.edu.au

woodrow<br />

kilns<br />

<strong>Australian</strong> Made<br />

Woodrow Kilns - Producing Beautiful <strong>Ceramics</strong> and Pottery for over 40 years<br />

Woodrow <strong>of</strong>fers a complete range<br />

<strong>of</strong> Electric or Gas Kilns.<br />

All our Kilns are <strong>Australian</strong><br />

made and feature:<br />

• Easy to use Digital Controls<br />

• Abrasion Resistant Interior<br />

• Kanthal A 1 Elements<br />

• Rust Free - Aluminium frames<br />

• Integrated Stand<br />

• Low Cost Firing<br />

• Energy Efficient<br />

• 2 Year Guarantee<br />

New MiniFire Plus<br />

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126 THE JOURNAL OF AUSTRALIAN CERAMICS APR il <strong>2011</strong>

THE<br />


stories in ceramics<br />

<strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association's Biennial Exhibition <strong>2011</strong><br />

Manly Art Gallery & Museum<br />

2 December <strong>2011</strong> - 22 January 2012<br />

Curator: Gerry Wedd<br />

Applications are <strong>no</strong>w dosed Artists will be <strong>no</strong>tified in <strong>April</strong> <strong>2011</strong><br />

PRO<br />

•••••<br />

A special event to mark the <strong>50</strong>th Anniversary <strong>of</strong><strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong><br />

Manly Art Gallery & Museum<br />

2 December <strong>2011</strong> - 22 January 2012<br />

MIChael Keighery is curating an exhibition to mark the <strong>50</strong>th anniversary <strong>of</strong> <strong>The</strong> <strong>Journal</strong> <strong>of</strong><br />

<strong>Australian</strong> <strong>Ceramics</strong> (JAC). This speCial event will involve a small number <strong>of</strong> ceramicists whose<br />

work has been promoted over the last decade in the National Education Pictorial Survey.<br />

A blog will also be set up prior to the exhibition to allow the exhibitors and others to talk<br />

about how JAC has functioned as a source <strong>of</strong> research material to inform the aesthetic,<br />

technICal and philosophical dimensions <strong>of</strong> their ceramic work.<br />

www.australianceramics.com<br />


Trudie Alfred (1922 -<br />

2010)" was a weLlk<strong>no</strong>wn<br />

Sydney potter and teacher with a great<br />

passion for ceramics. She struggled<br />

financially to sustain a ceramic practice in<br />

her early years as a potter and so, to assist<br />

others in a similar position. she left a generous<br />

bequest to <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong><br />

Association. Trudie specified that the funds be<br />

used to support the work <strong>of</strong> students<br />

preparing to embark on a<br />

career in the field<br />

<strong>of</strong> ceramics.<br />

VaL u ed a t u p to $ 4000 + 1 year membership <strong>of</strong> TACA . open<br />

to students enroLLed in the ir second or subsequent year <strong>of</strong> a<br />

ceramic program ' seLection paneL <strong>of</strong> three AustraLian ceramic<br />

artists from different states - must be currently enroLLed at time<br />

<strong>of</strong> schoLa r sh i p award . open to <strong>Australian</strong> c itizens or those<br />

with permanent r esiden c y seLection criteria: academ ic<br />

achievement · quaLity <strong>of</strong> ceramic wo rk - ratio n a Le for fu n ding<br />

<strong>no</strong>t previousLy rece ived t his sc h oLarsh ip written report<br />

re qui red at e n d o f scho Larship period<br />

Successful app lican ts will be <strong>no</strong>tified lote November <strong>2011</strong> . Scholarships will be<br />

awarded at the closing ceremony for the PROmotion exhibition, 22 January 2012<br />

at Manly Art Gallery and Museum.<br />

Z<br />

see the tribute to Trudie Alfred in <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>,<br />

<strong>Vol</strong> 49/3. November 2010, pages 10-11

Feeneys<br />

Clays<br />

WALKER<br />

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Clays Glazes Colours<br />

Cesca<br />

Glazes & Colours<br />

Walker WhIte Earthenware<br />

Greg Daly lustre·glazed vase<br />

wwwgregdalycom.au<br />

Service and Supplies<br />

03 8761 6322 1800 692 529<br />


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