The Journal of Australian Ceramics Vol 50 no 1 April 2011

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Perspective Slippage Kate Dunn explores the use of ceramics in the design and production of public art Slippage, according to the dictionary, is the act or instance of slipping, especially movement away from an original or secure place. For ceramic artists designing works intended to be placed in the public arena, some immediate considerations come to mind - weight, kiln size, freight and weather conditions. These factors can steer ceramic artists away from this avenue of practice, however some innovative artists are using their ceramics skills to make models and components for much larger-scale works in a variety of materials. This opens up tremendous possibilities for inclusion in architectural projects and increases the financial sustainability of an artist's practice. Other projects start out as ceramic works intended for the gallery and transform into large outdoor works through a dramatic shift in scale and medium. Two artists who are having great success with this approach are Michael Doolan, an artist from Victoria who now lectures at Sydney College of the Arts, and Greg Payce, an artist and academic from Alberta Canada. Both of these artists have developed techniques to overcome the physical limitations of large-scale public work and yet still retain the integrity of original smaller ceramic works. For them, ceramics is not only an end product but also a thinking or rethinking tool in the process of creating large-scale public art. This process may also work in the reverse. Queensland artist Donna Marcus is making large-scale metal public art with an organisation called Urban Art Projects, then successfully reduCing the scale back to a gallery friendly ceramic series, which takes on nuances of its own. To examine these ideas of sliding scale and traversing mediums I spoke to the artists mentioned above to get a better idea of what is involved in their processes. While ceramic may not be the final material of some of the outcomes, in the examples discussed here, ceramics is the instigator or stepping stone of the final product. Michael Doolan Michael Doolan works across a number of mediums within a range of scales in the creation of his cutely sinister, toy-like sculptures. Some are designed for plinth appreciation while others become largescale public artworks. Regardless of the outcome, the genesis of Doolan's work is hand-formed ceramics. To make larger scale pieces, Michael has the small ceramic works 3D scanned and then fabricated in a range of materials such as polystyrene, fiberglass, polyurethane and hybridised vinyl - materials that eliminate many of the issues that you would immediately encounter were you to make works of the 2-metre plus scale in ceramic. One example of this transformation is seen in his work for now and for ever. It is a yellow doll made of polystyrene with a hard coat of polyurethane, which stands 2 metres tall and appeared in the McClelland Sculpture Survey & Award in 2007. This work was based on a scan of for now and forever (flower girl) (2007), a ceramic work that stands at a demure 29 cm high. Doolan describes his process of increasing scale as a process of "magnification", rather than simply 'making it large', as with the larger scale the viewer can observe more detail. He takes tremendous care in the features of the original model knowing that it will be magnified several times. Michael describes this process as "hyper-crafting " . '4 THE JOURNAL Of AUSTRALIAN CERAMICS APRIL 20n
1 Michael Doolan, For now and forever (flower g;rl), 2007 polyurethane and polystyrene h. t 88cm, w.168cm, d.112cm 2 M ichael Doolan, Once Upon A Time, 2008, hand-built earthenware, onglaze enamel h.16cm, w.9cm, d.28cm 3 Michael Doolan, Once Upon A Time, 2010, cold inflatable, vinyl h.550cm, w.235cm, d.300cm Photos: courtesy the artist and Karen Woodbury Gallery Melbourne
Page 1 and 2: HE JOURNAL OF ustr • nceramlcs 50
Page 3 and 4: --. ------------------ Contents Vol
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Page 7: Australian Ceramics Directory Austr
Page 13 and 14: Tribute Vale Paul Soldner 1921 - 20
Page 15: Terence Bogue, On the Wings of a Di
Page 19 and 20: Perspective 1 Greg Payee, Passion s
Page 21 and 22: ----- -- Perspective Westfield Donc
Page 23 and 24: Focus: Ce ra mics + Body ;";' (..,-
Page 25 and 26: Juz Kitson, What did you expect? 20
Page 28 and 29: Focus: Ceramics + Body Left and opp
Page 30 and 31: Focus: Ce rami cs + Body ------- De
Page 32 and 33: Focus: Ceramics + Body ------------
Page 34 and 35: Focus: Ceramics + Body Stephen Benw
Page 36 and 37: Focus: Ceramics + Body Technical no
Page 38 and 39: Focus: Ceramics + Body ------------
Page 40 and 41: Focus: Ceramics + Body hangs in (of
Page 42 and 43: Focus: Ceram ics + Body Kris Coad.
Page 44 and 45: left: Kris (oad. ten thous.md thing
Page 46 and 47: Focus: Ceramics + Body Photos: Rach
Page 48 and 49: Focus: Ceramics + Body ------- Make
Page 50 and 51: I ~ Arrernte widow covered with pip
Page 52 and 53: Focus: Ceramics + Body Q & A: Think
Page 54 and 55: Focus: Ceramics + Body Prue Venable
Page 56 and 57: Focus: Ceramics + Body .:....-.---
Page 58 and 59: In October and November 2010, I tra
Page 60 and 61: Promotion Visit by Unident;fied Lad
Page 62 and 63: , Jane Wa lton, Honours, 2010 Beetl
Page 64 and 65: View Helen Fuller, Three Pots, terr
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View Francisca Tyssen, Ochre Point,
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View The Enigma of the Humble Teapo
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Workshop Getting a Handle on Findin
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Worksho p When makers engage produc
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Pro cess + Mea ning From One Place
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Fiona Fell and lyndall Adam" Call,
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Process + Meaning Concept and Compe
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Process + Meaning Nutz Luk Mel Fel.
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Inside My Studio Klaus Gutowski at
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Inside My Studio VG: What do you do
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Cera mic Spaces Right: Christopher
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Ceramic Spaces Alan Constable, Unti
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Events 1 Inside the Dome Hall, FPAV
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Events Chen lu pottery village: pho
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Events 1 John Tuckwell demonstratin
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Potters Marks Potters Marks Klaus G
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Archive: Pottery in Australi a, Vo
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Well Read The leach Pottery 1952 -
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Au st ralia Wide act Form, Fire & F
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Australia Wide Committee is working
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Become a subscriber aJuNg'tralian c
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Stockists ACT canberra potters soci
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Books & DVDs Onthe Shelf NEW! , NEW
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Classifieds GREG PIPER IMAGING SOLU
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To work creatively with clay is to
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Studio-based courses Full and part-
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www.gregpiper.com .au ceramic fine
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loo/($ differenF ? clever design pr
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Ceramics Photograph'y all Images to
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woodrow kilns Australian Made Woodr
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Trudie Alfred (1922 - 2010)" was a
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The Journal of Australian Ceramics Vol 50 no 1 April 2011

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