The Journal of Australian Ceramics Vol 50 no 1 April 2011
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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 />
2 0 THE JOURNAL Of AUSTRALIAN CERAMICS APRIL <strong>2011</strong>
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