The Journal of Australian Ceramics Vol 50 No 2 July 2011

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Contents<br />

<strong>Vol</strong>ume SO/2<br />

<strong>July</strong> <strong>2011</strong><br />

S16<br />

Cover<br />

Jan Howlin. Master <strong>of</strong> Fine Arts<br />

Sydney Colk!ge <strong>of</strong> the Arts 2010<br />

See page 68<br />

Front: Comforts <strong>of</strong> Home ,<br />

Back: Me and Thr~ Veg<br />

ceramic, mixed media, life stZe<br />

Photo: Anthony Btowell<br />

<strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> CeramICS<br />

Dates <strong>of</strong> Publtc.atlOfl<br />

1 April. 17 <strong>July</strong>, 20 <strong>No</strong>vember<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 9369 3742<br />

mall@austrahanceramics.(om<br />

www.austrahanceramics.com<br />

ABN 14 001 535<strong>50</strong>2<br />

ISSN 1449-275X<br />

Editor<br />

VidlGrtma<br />

Marketing and Promotions<br />

Carol Fraaek<br />

Design<br />

Astnd Wehhng<br />

www.astndwehlmg.com.Clu<br />

Subscriptions Manager<br />

Ashley McHutchtSOn<br />

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

Suzanne Dean<br />

Printed in Australia by<br />

Neo.vstyle Printing, SA<br />

State Representatives<br />

ACT: Jane Crick<br />

JanecrlCkCdodo.com.3U<br />

NSW: Sue SteYIart<br />

suritceramK3rtlst.com.ClU<br />

QLD FAR NORTH: lone Wh,t.<br />

IoneOtpg.com.au<br />

OLD SE: lyn Rogers<br />

romeo-whrskyCblgpond.com<br />

SA: KIrsten Coelho<br />

kanddCchanot .net.au<br />

TAS. John Watson<br />

JohnOdmink.net<br />

VIC: Glenn England<br />

glennengland@optusnet.com.au<br />

WA: Pauline Mann<br />

pandprnOwestnet.com.au<br />



4 NOW + THEN<br />




10 Bernard Sahm, by Peter Pinson and Guy Warren<br />

13 Ian Currie, by Kevin Grealy<br />

14 Thancoupie, by Christine Nicholls<br />


15 Baronial Splendour A meeting with Lord Wedgwood by Inga Walton<br />


21 International Wood-fired Tableware, artist catalogue<br />

27 In the Making Anna Lise De Lorenzo, from &company, in conversation<br />

with Malcolm Greenwood<br />

32 One Thousand Magic Bowls Carole Lander reports on a special event at<br />

Port Willunga<br />

36 <strong>No</strong>t Just a Dinner Plate <strong>The</strong> maker and the student talk tableware with<br />

Karen Weiss<br />

40 Ceramic Innovation Inga Walton considers Gregory Bonasera's design<br />

strategy<br />

46 Flat Out: a survey <strong>of</strong> dinner plates<br />

48 In the Kitchen with MasterChef Adam Liaw Janetta Kerr-G rant on<br />

celebrating the hand-made<br />

<strong>50</strong> On the Table at Bilson's Jules Skovgaard gives a short report on Sally<br />

Gordon's tableware<br />

52 Creating Seder Plates Ede Horton writes about her collaboration with<br />

Christopher Plumridge<br />


53 Contemporary <strong>Ceramics</strong> at Hazelhurst<br />




72 VIEW 1: Fifty <strong>Australian</strong> Stories at the Edge <strong>of</strong> the World<br />

Paul Campbell-Allen poses a question<br />

75 PROCESS + MEANING: Mark Making Sarah O'Sullivan takes a look at<br />

an upcoming ceramic masters exhibition<br />

80 WORKSHOP: Getting to Know Woodfire Ashley McHutchison and Joey<br />

Burns share their recent encounter with wood-fire<br />

84 INSIDE MY STUDIO: In Conversation with Katherine Mahoney<br />

88 EDUCATION: Recovering the Skills <strong>of</strong> Potters in Vanuatu<br />

Report by Al istair Whyte<br />

90 EVENTS: Woodfire Tasmania <strong>2011</strong><br />

92 COMMUNITY: Are you in 201l? A brief history <strong>of</strong> the <strong>Australian</strong><br />

<strong>Ceramics</strong> Diredory and its precursors by judith Pearce<br />

96 WEDGE: Steve Harrison Refledions on one asped <strong>of</strong> the<br />

Woodfire TAS <strong>2011</strong> Conference<br />


98 ARCHIVE: Pottery in Australia, <strong>Vol</strong> 28, <strong>No</strong> 4, December 1989<br />

100 WELL READ: Two book reviews<br />



Editor: Vicki Grima<br />

<strong>The</strong> Reedy Marsh Woodlire Challenge judging panel,<br />

Andrew Bryant. Elaine 0 Henry and Vicki Grima,<br />

resplendent in VB beer carton crowns; photo: Alana Blanch<br />

As I worked on various articles in this issue, I was reminded<br />

<strong>of</strong> the strong ceramics community that surrounds us in<br />

Australia, with four fabulous days at Woodfire TAS <strong>2011</strong>, two<br />

weeks <strong>of</strong> passionate discussion on the email discussion list<br />

(following my posting on 23 May <strong>of</strong> Susie McMeekins WEDGE<br />

article from issue <strong>50</strong>11), and the support shown on the June<br />

long weekend to Gundaroo potters Ian Jones and Moraig<br />

McKenna after a fire destroyed their house and gallery.<br />

<strong>The</strong> strength <strong>of</strong> the connections, the ease with which new<br />

bonds are made and the generosity <strong>of</strong> everyone in sharing<br />

knowledge, experience, time and creativity, is inspiring. As<br />

life constantly reminds us, change is around us wherever we<br />

look, and it is our readiness to accept that reality that will<br />

lead us to find new solutions to current issues, especially<br />

those challenges which we face in the education sector. I<br />

enjoyed listening to Torbj0rn Kvasb0, in his opening speech<br />

at Inside Woodfire: fifty <strong>Australian</strong> stories, as he reminded us to reach outside our ceramics world<br />

to connect with the broader community so that we can grow in new, exciting ways. <strong>The</strong>re are several<br />

inspiring examples in this issue <strong>of</strong> pEi"ople who do that - potters like Malcolm Greenwood, Janetta Kerr­<br />

Grant, Sally Gordon and Christopher Plumridge who are collaborating with design companies, cookbook<br />

w riters, restaurateurs and glass artists to create a point <strong>of</strong> difference with their beautiful tableware;<br />

craft centres like the Jam Factory in Adelaide that became an integral part <strong>of</strong> the local film festival event,<br />

providing 1000 bowls; and many ceramics students who are exploring the medium in new ways as they<br />

attend the tertiary institutions around the country. This diverse, sometimes challenging, work is shown<br />

on pages within this issue.<br />

Our new blog, http://jacpromotion<strong>2011</strong>.com, is up and running to mark the <strong>50</strong>th anniversary <strong>of</strong> the<br />

publication <strong>of</strong> <strong>The</strong> journal <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong> (JAC). Around thirty ceramicists, drawn from JAC's<br />

education pages over the last ten years, are participating in an online conversation about their work and<br />

how the journal has acted as an educational, research and promotional tool. <strong>The</strong>ir conversations will<br />

provide material for a special exhibition in December <strong>2011</strong> at Manly Art Gallery and Museum. Check out<br />

their studios, and hear about their latest projects in (he upcoming months.<br />

And last, but not least. <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association is now taking applications for<br />

<strong>The</strong> Trudie Alfred Bequest <strong>Ceramics</strong> Scholarships, a generous project which will help up to<br />

5 students a year continue their ceramics study. Read about it on our last page (128),<br />

then spread the word within your community.<br />

~.<br />

Editor's notes:<br />

To view folders <strong>of</strong> Woodfire TAS 201 1 images, go to www.woodfiretasmania.com.au<br />

To check out the archived messages from the email discussion,<br />

visit http://tinyurl.com/discussionlistarchive.<br />

To participate in our new blog, join us at http://jacpromotion<strong>2011</strong>.com<br />


Contributors<br />

Carole Lander is a freelance writer and<br />

editor who regularly contributes to the<br />

national newspapers and online publications<br />

in the genres <strong>of</strong> travel, memoir, pr<strong>of</strong>ile and<br />

opinion. She is informed and inspired by close<br />

family and friends who are practising artists<br />

(ceramicists, sculptors and painters).<br />

E: carolelander@gmail.com<br />

M : 0402 037 267<br />

See pages 32-35.<br />

Dr Judith Pearce, PSM<br />

After a rewarding career at the National<br />

Library, I now run a gallery in Bemboka, NSW,<br />

with my partner David, displaying and selling<br />

<strong>Australian</strong> pottery acquired on the secondary<br />

market I am also building a database <strong>of</strong><br />

<strong>Australian</strong> potters and their marks and<br />

making this information available online.<br />

www.australianpotteryatbemboka.com.au<br />

See pages 92-95.<br />

Greg Piper<br />

An exhibition A Dozen Different Ways was<br />

my introduction to the ceram ics community.<br />

Back then it was all mud to me, but this event<br />

transformed it to clay, to porcelain ... revealing<br />

the incredible variations possible. For me,<br />

the pleasure and excitement <strong>of</strong> observing a<br />

ceramicist's emotional passage via their creative<br />

process has always been very rewarding,<br />

influential and moving.<br />

E: greg@gregpiper.com.au<br />

M: 0411 107744; www.gregpiper.com.au<br />

See pages 7, <strong>50</strong>, 51 and 54.<br />

Sarah O'Sullivan is currently completing<br />

her Masters at the National Art School<br />

Sydney, after returning from two years in<br />

Adelaide where she undertook a mentorship<br />

with artist Robin Best at the JamFactory.<br />

Sarah is a recent recipient <strong>of</strong> the NAS<br />

Aboriginal Internship and is about to<br />

embark on a 3-month adventure into central<br />

Australia.<br />

E: sarah.c.osullivan@gmail.com<br />

www.sarahosullivan.com.au<br />

See pages 75-79.<br />


<strong>No</strong>w + <strong>The</strong>n<br />

Ian Currie's first book, Stoneware Glazes­<br />

A Systematic Approach is no longer in print.<br />

An online version is avai lable here:<br />

http://stonewareglazes.currie.to/.<br />

lan's second book, Revealing Glazes -<br />

Using the Grid method is available for purchase<br />

at http://ian.currie.to/ and<br />

www.australianceramics.com.<br />

Ian Currie's family have posted this note<br />

about asbestos on their website: Ian battled<br />

Mesothelioma, a form <strong>of</strong> cancer caused by<br />

asbestos, for some time before his passing.<br />

He identified the insulation from some <strong>of</strong> his<br />

kilns as his main asbestos exposure. While it is<br />

generally held to be true that asbestos that is<br />

fixed into sheets and then painted will not leak<br />

asbestos fibres, it is also true that this leaves a<br />

time bomb for later generations to fix. If you are<br />

a potter, please take a moment to think about<br />

your workshop/kiln and identify any materials<br />

(kiln insulation, pot boards, etc) that may<br />

contain asbestos and either have them removed<br />

by a pr<strong>of</strong>essional asbestos removal company<br />

or document the materials in your will so that<br />

anyone sorting out your estate is aware <strong>of</strong> the<br />

potential health risks.<br />

<strong>The</strong> association Dialogue Ceramique, led by<br />

the Genevan ceramicist Claude Albana Presset,<br />

devised an impressive project: to commission<br />

one hundred eminent ceramicists from the five<br />

continents to create a series <strong>of</strong> ten bowls, which<br />

were placed in showcases specially designed<br />

by Roland Eberle for a world-wide itinerant<br />

exhibition lasting two and a half years. After India,<br />

China, Korea and France, the Musee Ariana is<br />

hosting the exhibition on one <strong>of</strong> the last stages<br />

<strong>of</strong> its tour, before it continues to the Musee<br />

des Beaux-Arts in La Chaux-de-Fonds and the<br />

Kunstgewerbemuseum in Winterthur. Go here to<br />

view the bowls http://tiny.cc/1001bols.<br />

Andrew Widdis set up a survey earlier this year<br />

on perceptions about ceramic tableware.<br />

Go here for the results or to participate:<br />

www.andrewwiddis.com/news.<br />

Call for applications:<br />

Biennale de la Ceramique <strong>of</strong> Andenne, Belgium<br />

27 + 28 May 2012<br />

Deadline: 31 October <strong>2011</strong><br />

E: infos@biennaledelaceramique.be<br />

www.biennaledelaceramique.be<br />

19 June <strong>2011</strong> - 24 February 2012:<br />

Rediscovering Jonathon Leak is an exhibition<br />

<strong>of</strong> around forty re-constructed pieces, the greater<br />

part <strong>of</strong> which is made up <strong>of</strong> pieces found in a<br />

Sydney clay pit. In 2007, a team <strong>of</strong> archaeologists<br />

had the rare opportunity to excavate a clay-pit tip<br />

on the original site <strong>of</strong> the convict potter Jonathan<br />

Leak, who began establishing his pottery in 1821,<br />

<strong>of</strong>f Elizabeth Street, Sydney, near the brickfields.<br />

Leak had dug clay from the pit in 1824, and then<br />

used it as a tip for broken pottery. Take a visit to<br />

the National Museum <strong>of</strong> <strong>Australian</strong> Pottery,<br />

76 Albury Street, Holbrook NSW 2644;<br />

T: 02 6036 3464. Open Thursday to Tuesday,<br />

9.30am to 4.30pm; closed Wednesday and the<br />

month <strong>of</strong> August.<br />

E: info@australianpottery.net.au<br />

www.australianpottery.net.au<br />

about curating a tableware<br />

installation in Byron Bay<br />

Sally Cleary reports on<br />

Resonate, a group exhibition<br />

at RMIT's First Site Gallery<br />

•<br />


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

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

Add Entry<br />

Dean smith <strong>Ceramics</strong><br />

Castlemaine VIC 34<strong>50</strong><br />

E: info@deansmithceramics.com<br />

www.deansmithceramics.com<br />

My primary focus is on sculptural vessel forms with an<br />

angle on industrial aesthetics, chaos/order and geometry<br />

in nature such as crystal forms. I find the visual qualities<br />

<strong>of</strong> rocks and gems fascinating - the chaotic and ordered<br />

structures embedded within them. I like to transfer these<br />

qualities into the vessels directly, using extruded clay -<br />

sheared, fractured and shaped. I treat the surface with<br />

combinations <strong>of</strong> crystalline glazes, metallic glazes and<br />

lustres to further convey the elemental properties <strong>of</strong> rock.<br />

Callie McLean<br />

Campsie NSW 2194<br />

E callie@moomoobooboo.com<br />

www.moomoobooboo.com<br />

This is a salt pig I made whilst on exchange at Alberta<br />

College <strong>of</strong> Art + Design (ACAD) in Calgary. After making<br />

hundreds <strong>of</strong> these porcelain porkers on the wheel, I<br />

became known as 'the pig lady' and went <strong>of</strong>f to Medalta<br />

International Artists in Residence in Medicine Hat, Canada.<br />

This concept came about after being diagnosed with Adult<br />

ADHD in 2007 and the phrase "More is more" echoes<br />

about my head as I muse the qualities <strong>of</strong> my affliction into<br />

mud, and I am then happy!<br />

Pattie Murr

Tributes<br />

Bernard in his country workshop, 2005<br />

Vale Bernard Sahm<br />

1926 - <strong>2011</strong><br />

In 1956, Bernard Sahm was a thirty-year-old <strong>Australian</strong> potter, working in a commercial ceramics<br />

studio near St Ives, in Cornwall. He was throwing an amazing 100 lidded pots a day. His impressive<br />

technical facility, combined with his strong sense <strong>of</strong> vessel design, marked him as likely to become an<br />

innovative and successful maker <strong>of</strong> functional ceramics. And so he did.<br />

What was not apparent in 1956 was that he would later create remarkable ceramic objects that were<br />

witty commentaries on human frailties.<br />

Bernard Sahm was born in Sydney in 1926. His initial employment in the 1940s was as an engineering<br />

draughtsman, and this experience gave him an appreciation <strong>of</strong> construction and design issues that he<br />

would carry into his ceramics. He began studying at the National Art School where his studies included<br />

ceramics, and this led, in 1949, to him working briefly as a decorator at the Martin Boyd Pottery. Pam<br />

Court, whom he would marry in 1955, also worked at the Boyd Pottery.<br />

Unlike most contemporary ceramic artists, Sahm 's early ceramic training was in commercial studios:<br />

Terra <strong>Ceramics</strong> in Sydney, and (in 1956) Gutenhalde <strong>Ceramics</strong> in Stuttgart, which made large ceramic<br />

pieces for public spaces.<br />

After Germany, the Sahms travelled to Britain and Bernard went to work in Harry and May Davis's<br />

Crowan Pottery. It was an idyllic alternative lifestyle. Goats provided milk, water came from a well, and<br />

a waterwheel provided mechanical and electrical power. Crowan Pottery's products, mainly usable and<br />

very affordable, were impressed with the workshop's mark rather than indicating individual potters.<br />


Tributes<br />

, ernard Sahm. Fingers. 1973. unglazed, h.76-91cm Bernard Sahm. Botancial Ladies<br />

2006. tallest, h.S4

Tributes<br />

his colleagues would cease packing their attache cases, and the prospect <strong>of</strong> the meeting's conclusion<br />

would recede into the remote distance. Of course, it was precisely this capacity for seeing things from a<br />

fresh tangent that made his ceramics so personal, so sharply barbed, and so innovative.<br />

After his retirement in 1984, the Sahms moved to a property they had bought a few years earlier in<br />

the Wollombi area <strong>of</strong> NSW. Bernard became entranced by the vulnerable beauty <strong>of</strong> the bush and the<br />

forest. His sculptural ceramics began to find their subjects in the surrounding plants and flowers and<br />

fungi. But he had no interest in botanical accuracy: his sculptural plant-forms were ornamental, strange<br />

and surreal.<br />

In the last months <strong>of</strong> his life, he published a book entitled A Potter Looks for God. <strong>The</strong> Energy <strong>of</strong><br />

Evolution. It was launched, fittingly, in a former church adjoining the Mosman Art Gallery, where Gillian<br />

McCracken had curated his retrospective exhibition in 2006. <strong>The</strong> book expressed his view that humans<br />

are responsible for their interactions with the environment, and they shouldn't assume that God w ill trail<br />

indulgently behind them, repairing their damage.<br />

Reviewing an exhibition <strong>of</strong> Sahm 's work, art critic James Gleeson wrote <strong>of</strong> his ceramics, " His work is<br />

strong and elegant. He is a traditionalist, but he is never dull or conventional." It was a good description<br />

<strong>of</strong> Sahm's ceramics, and <strong>of</strong> Sahm himself.<br />

Bernard Sahm died on 27 February, aged 84. He is survived by his wife Pam and his ch ildren Richard,<br />

Katherine and Helena.<br />

Peter Pinson and Guy Warren (Reprinted with the permission <strong>of</strong> <strong>The</strong> Sydney Morning Herald)<br />

Editor's note: A small number <strong>of</strong> Bernard's book, A Potter Looks for God - <strong>The</strong> Energy <strong>of</strong><br />

Evolution, has been made available for sale via <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association; see page 110.<br />

Bernard Sahm, Forest Form Boa t, h.57cm<br />

Forest Form, h.69cm; Wind & Wa ter, h.51cm<br />

1996<br />

Bernard Sahm, Art Machine - Lollipop , 1976<br />

two <strong>of</strong> four parts, left, h.11 Scm, right, 181 cm<br />

Photos: courtesy Pam Sahm<br />


Tributes<br />

Vale Ian Currie 1941 - <strong>2011</strong><br />

Ian Currie throwing big pots at the National <strong>Ceramics</strong> Conference.<br />

Cover, Pottery in Australia, <strong>Vol</strong> 17, <strong>No</strong> 2, Spring 1978<br />

A great chapter has closed in the history <strong>of</strong> <strong>Australian</strong><br />

ceramics with the recent death <strong>of</strong> a dear friend and gentle<br />

man ... Ian Currie.<br />

lan's pr<strong>of</strong>essional life began with science until the lure <strong>of</strong><br />

ceramics took hold, as it so <strong>of</strong>ten does! But it was his science<br />

background as much as his pots that made Ian so important to<br />

the development <strong>of</strong> ceramics in Australia, USA and Europe.<br />

In the matter <strong>of</strong> glazes, when lan's stellar career began most<br />

potters were at the mercy <strong>of</strong> good luck and other people's<br />

recipes, We were more alchemist than chemist. <strong>The</strong> dreaded<br />

Segar unity formula made sense mainly to those who, like lan,<br />

had a science background, <strong>The</strong>re would be many who admit to<br />

having learnt to calculate glazes via the unity formula in order to pass a college exam, then never used<br />

it again.<br />

From the USA, Daniel Rhodes challenged us to grasp the Segar formula in his Clay and Glazes<br />

for the Potter. In England, Nigel Wood made a very useful contribution to glaze calculation for the<br />

layperson with his percentage method, and later Robin Hopper in Canada introduced his more userfriendly<br />

method <strong>of</strong> glaze calculation. In Australia, Ivan McMeekin and Ivan Englund helped us to explore<br />

and understand the potential <strong>of</strong> <strong>Australian</strong> materials, but it was Ian Currie who finally bridged the<br />

chasm between chemistry and materials in a language understandable by the layperson.<br />

His course for the <strong>Australian</strong> FlYing Art School eventually became a book, followed a few years later<br />

by the publication <strong>of</strong> an even simpler method <strong>of</strong> glaze calculation. Ian embarked on a very successful<br />

career delivering lectures on glaze calculation in universities in the USA. Europe, Britain and Australia.<br />

When I saw Ian at the Verge Conference in Brisbane a few years ago, I was aware he was not a well<br />

man, but his spirits were high and he was positive. He had recently joined an a capella music group in<br />

Warwick, and this was giving him much pleasure.<br />

We who have known Ian as a person are privileged. As a teacher, he was gentle, patient and<br />

generous, Those who did not know Ian will still benefit from the legacy <strong>of</strong> his writing for decades to<br />

come. <strong>The</strong> Ian Currie publications will remain classics <strong>of</strong> their genre.<br />

Vale, dear friend.<br />

Kevin Grealy<br />

Editor's note: see page 4 for information on lan's books and a warning about asbestos.<br />


Tributes<br />

Vale Thancoupie 1937 - <strong>2011</strong><br />

Thancoupie, Australia, 1937- <strong>2011</strong>; Thanaquith people, Queensland<br />

Thaal the black eagle, Mal the red eagle, 1994, Trinity Beach,<br />

Cairns, Queensland. earthenware. h.29cm. dlam.32cm; South Austra lian<br />

Government Grant assisted by the Commonwealth Government<br />

through the Australia Council, its arts funding and advisory body 1994.<br />

Art Gallery <strong>of</strong> South Australia, Adelaide<br />

<strong>The</strong> ceramic artist and sculptor Thanakupi (Thancoupie) was<br />

born in 1937 at Napranum, near Weipa Presbyterian Mission<br />

on Western Cape York Peninsula, Queensland. Christened<br />

Gloria Fletcher, it was only in 1972, when she began working<br />

as a practising ceramicist following studies in ceramics at<br />

East Sydney Technical College under Peter Rushworth and Shiga Shigeo, that she began publicly using<br />

her Wik 'bush name', Thanakupi (meaning Wattle Flower). Thanakupi is credited as being the first<br />

Indigenous <strong>Australian</strong> to study fine arts at a tertiary institution, and the first to forge a successful career<br />

as a ceramicist. At the time <strong>of</strong> her death on 24 April <strong>2011</strong>, Thanakupi, whose career spanned some 40<br />

years, was recognised as Australia's foremost Indigenous potter.<br />

After receiving her three-year certificate in Ceramic Studies, Thanakupi turned her attention to making<br />

wheel-thrown domestic objects, including mostly unremarkable mugs, bowls and bottles. In 1976, after<br />

moving to Cairns where she first set up a studio, then soon after established her own pottery at nearby<br />

Trinity Beach, Thanakupi turned to the ancient culture <strong>of</strong> her own people for inspiration. She began<br />

making the spherical and egg-shaped ceramic sculptures, as well as the sea- and free-form shapes that<br />

are now collectively recognised as Thanakupi's signature works. As Jennifer Isaacs writes, "Thanakupi's<br />

. clay surfaces are covered with linear designs, the surface glazes changing over the years from highly<br />

glazed stoneware using tenmoku, celadon, and dry feldspathic effects .. . [later deploying! chalk-like<br />

effects with dark linear drawings <strong>of</strong> kangaroos, possums, emus, dugong, barramundi land! ibis." Later<br />

still, Thanakupi began representing Creator Beings associated with her coastal homeland: sea creatures,<br />

eagles, plants and tendrils. Another more recent directional shift led to making works that, to quote<br />

Isaacs, are redolent <strong>of</strong> "yams and seed pods" .<br />

Among the many remarkable 'firsts' in Thanakupi's life, an equally significant and infinitely poignant<br />

'last' comes with her passing - Thanakupi was the last remaining fluent speaker <strong>of</strong> the Thaynakwith<br />

language. In 2007, she published her dictionary <strong>of</strong> Thaynakwith language (Thanakupi's Guide to<br />

Language and Culture), equally admired by her own people and by pr<strong>of</strong>essional linguists. Thanakupi<br />

thus leaves an important two-fold legacy - as a nationally and internationally celebrated ceramicist, and<br />

a gifted linguist.<br />

Vale Thanakupi, master potter; vale Thaynakwith.<br />

References: ISaacs. Jenmfer, 'Tharn:oupie, 2000', in (eels) Sytvia Kleinert and Margo Neale, <strong>The</strong> Oxford Companion to Ab<strong>of</strong>lQJnar Art and Culture,<br />

Oxford UniverSity Press. Melbourne & UK, p 7 13.<br />

Christine Nicholls is a writer, curator and Senior Lecturer in <strong>Australian</strong> Studies at Flinders<br />

University.<br />


Perspective<br />

Wedgwood. Cuckoo Range:<br />

pink teacup and saucer,<br />

bone china, cup, diam.13cm<br />

Photo: courtesy Wedgwood<br />

Baronial Splendour<br />

A meeting with Lord Wedgwood by Inga Walton<br />

For thirty years, Piers Anthony Weymouth Wedgwood, 4th Baron Wedgwood <strong>of</strong> Barlaston, has<br />

travelled the world as the international brand ambassador for the venerable firm (est. 1759) whose<br />

name he bears. Following a visit in February-March 2010, Lord Wedgwood returned to <strong>Australian</strong> during<br />

the first week <strong>of</strong> May <strong>2011</strong> to launch the new range An Artful Life. It was a packed schedule <strong>of</strong><br />

appearances in four states, starting with the '30 Days <strong>of</strong> Home, Food and Wine' Belle lifestyle event in<br />

Sydney.<br />

Mothballed for over a decade, the heritage-listed and newly refurbished art deco gem Mural Hall at<br />

Myer Melbourne, with its vast chandeliers and (Mervyn) Napier Waller (1893-1972) paintings, was the<br />

setting for what was billed as a 'Mother's Day Morning Tea'. Personable to a 't', Lord Wedgwood signed<br />

items before and long after his presentation, the queues for which surely rivalled that <strong>of</strong> American<br />

singer Katy Perry who was in-store promoting her new perfume two days before. In the cloyingly<br />

fragrant wake <strong>of</strong> the cartoonish and faintly ridiculous pop star, a more refined demographic came out to<br />

greet the urbane, droll and decidedly dapper peer.<br />

Wedgwood is the seventh generation descendant <strong>of</strong> the 'Father <strong>of</strong> English Potters', the great-greatgreat-great-great-grandson<br />

<strong>of</strong> Josiah (1730-95). Born in Kenya, Wedgwood came to England in 1963,<br />

when he was nine, and attended Marlborough College. Like his forbear, the distinguished soldier<br />

and statesman Colonel Josiah Clement Wedgwood (IV), 1st Baron Wedgwood, DSO (1872- 1943),<br />


Perspective<br />

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

Wedgwood continued on to the Royal Military Academy at Sandhurst. He pursued a career in the Royal<br />

Scots (1973 - 80) before retiring from the regiment to pursue his wider business interests. Wedgwood<br />

succeeded to the Barony in 1970, whereupon he entered the House <strong>of</strong> Lords, where he served until the<br />

1999 'reform act' abolished the right <strong>of</strong> hereditary peers to sit in the chamber. Lord Wedgwood is now<br />

based in the salubrious neighbourhood <strong>of</strong> Chestnut Hill in Philadelphia, the city his wife Mary and her<br />

family hails from.<br />

As an audience <strong>of</strong> nearly three hundred ate canapes, scones and cakes <strong>of</strong>f plates from the new tea<br />

range, Wedgwood declared, "Actually, my personal favourite is 'Cuckoo'; here's a wonderful play, a<br />

twist, on a design we created in the early 1800s. You'll remember all that interest in ancient design,<br />

chinoiserie, the Brighton Pavilion [c.1787-18221 down in the South <strong>of</strong> England ... and this is the result<br />

today, and I think she's a beauty. So with tea ware that is unashamedly romantic and fun and different,<br />

we like to mix things up a little bit!" He discussed many <strong>of</strong> the limited-edition prestige items in some<br />

detail, particularly pieces whose design echoes earlier prototypes from the archives. <strong>The</strong> 'First Day's<br />

Vase ' was reinterpreted in 2009 in honour <strong>of</strong> Wedgwood's 2<strong>50</strong>th anniversary. Six vases were originally<br />

thrown by Josiah Wedgwood (with his partner Thomas Bentley (1731-80) powering the wheel) to mark<br />

the opening <strong>of</strong> his new factory at Etruria on 13 June 1769. Many <strong>of</strong> the most beloved designs, like the<br />

"Dancing Hours Plaque", date from the period (1787-94) when Josiah sent gifted sculptor, modeller<br />

and draughtsman John Flaxman (the younger, 1755-1826) to study in Italy. This transformed Flaxman<br />

from an obscure and derivative British stylist into an international figure with a proven record in faithfully<br />

executed decorative design.<br />

In discussing the new blue Jaspervvare 'Wattle Octagonal Tray', Wedgwood reflected on the firm's<br />

historical links with an emerging nation in the formative years <strong>of</strong> British colonisation. "<strong>Australian</strong>a is, for<br />

us, <strong>of</strong> great fascination. Why? Well we love you; we think you're fairly crazy, but we do love you! We<br />

have this fabulous connection which goes back to the First Fleet arriving, Captain Arthur Phillip sending<br />

back samples <strong>of</strong> clay, and Josiah Wedgwood making the Sydney Cove Medallion [17891 out <strong>of</strong> that, and<br />

ever since we have been producing pieces <strong>of</strong> <strong>Australian</strong>a." Sir Joseph Banks (1743-1820) sent the clay<br />

to Wedgwood, his friend and fellow member <strong>of</strong> the Royal Society, to be tested for its suitability to make<br />

pottery (which Wedgwood reported was excellent). In turn, Wedgwood asked his friend (and future<br />

relation) Erasmus Darvvin (1731-1802) to pen a verse to accompany the dark grey medallion, with its<br />

allegorical figures, made from the sample. This travelled back to Sydney on the Second Fleet1 and, as<br />

Lord Wedgwood quipped, " ... with our Darvvin connection, it's no wonder that we have, within the<br />

family, some rather odd looks."<br />

For nearly forty minutes, Wedgwood regaled the many appreciative 'Wedgwoodians', as he calls<br />

them, with his thoughts and anecdotes. After which there were even a few squalling infants produced<br />

for photo opportunities, but Lord Wedgwood remained unflappable; he signed, he chatted, he posed,<br />

he signed, he beamed, he shook countless hands, listened amiably to drawn-out reminiscences, and he<br />

signed. Indeed, he continued to sign pieces for collectors not even present during the time allocated<br />

for our interview. <strong>The</strong> opportunity to engage with the brand's loyal customer base is always foremost<br />

in Lord Wedgwood's mind. "Our designers are constantly looking at what the next trends are, what is<br />

new, what is interesting, what is edgy. We are a company that has survived on constantly changing to<br />

be relevant to today's consumer, and that is very important. It's all about 'how do we incorporate the<br />

history and the legacy <strong>of</strong> Josiah Wedgwood' into what we're doing today."<br />

Although Wedgwood prides itself on a long history <strong>of</strong> craftsmanship and aesthetic continuity, even a<br />

brand name with such a prestigious background was not immune to the economic turmoil <strong>of</strong> 2008-09.<br />


Wedgwood, Black Jasper Honey Pot, matte<br />

Black Jasper with strong white contrast. h.13.5cm<br />

Photo: courtesy Wedgwood<br />


Persp ective<br />

Wedgwood, Wattle<br />

Octagonal Tray, white on<br />

Pale 81ue Jasper, d,am.12.5cm<br />

Photo: courtesy Wedgwood<br />

<strong>The</strong> GFC saw the Dublin-based Waterford Wedgwood Royal Doulton group, which had acquired<br />

Wedgwood in 1986, placed under administration, By March 2009, the New York-based private equity<br />

firm KPS Capital Partners was announced as the new owner. It was a period <strong>of</strong> turbulence and job<br />

losses, with the fate <strong>of</strong> the Wedgwood Museum in Staffordshire, and its magnificent collection, still<br />

to be decided.2 Lord Wedgwood is acutely sensitive to the challenges facing the manufacturing field<br />

in general, and specifically the viability <strong>of</strong> ceramics as a commercial medium. " It's been devastating to<br />

see what has happened in the forty-year journey that I've taken with this company, and the amount <strong>of</strong><br />

places that have just closed down, that are no longer .. .", he ruminates. "You know at Stoke-an-Trent,<br />

that used to have, when I started out, maybe about 1<strong>50</strong> different manufacturers <strong>of</strong> some note, there<br />

may be five now, we're easily, eaSily the biggest, but we very nearly didn't survive ,."<br />

Any suggestion that reputation or historical associations alone could insulate a business in today's<br />

financial climate was trounced by Waterford Wedgwood's plight. "You cannot live on that alone, as<br />

Wedgwood,<br />

Dancing Hours<br />

Plaque, white on<br />

Pale Blue Jasper in<br />

a perspex frame,<br />

h.7.5cm, w.23cm,<br />

Ltd. Ed. <strong>No</strong> 200<br />

Photo: courtesy<br />

Wedgwood<br />


Perspective<br />

Wedgwood, Cuckoo Range: creamer and sugar<br />

bone china; photo. courtesy Wedgwood<br />

we've discovered in these very, very tough economic times ... I'm extremely grateful to our new owners<br />

who are, typically in a situation like this, they're tough; they need to be tough, but they're really giving<br />

us a new sense <strong>of</strong> opportunity and purpose," Wedgwood said . "We needed to change some systems,<br />

and some <strong>of</strong> the ways we operated. <strong>No</strong>t that we weren't doing a good job before, but we just weren't<br />

doing it necessarily in a manner that was going to allow us to survive through the changes <strong>of</strong> the 21 st<br />

century." After such a reactive period, Lord Wedgwood sees the company now undergoing a time<br />

<strong>of</strong> consolidation and renewal. "Just to illustrate the strength <strong>of</strong> this brand, and what can be done,<br />

because <strong>of</strong> the nature <strong>of</strong> manufacturing in England and the costs involved, we had to move some <strong>of</strong> our<br />

manufacturing overseas, which nobody wanted to happen ... well it did happen," he recalls grimly. "<strong>The</strong><br />

interesting thing is, not only did we manage to keep our factory going, but we're now repatriating some<br />

<strong>of</strong> that manufacturing back to England .. . almost unheard <strong>of</strong>!"<br />

For centuries the Wedgwood imprimatur has been synonymous with the type <strong>of</strong> exquisitely finished,<br />

labour-intensive, artisan-made objects beloved by royalty, aristocracy, statesmen and connoisseurs alike.<br />

Lord Wedgwood is appalled at the prospect <strong>of</strong> such artistry and expertise being irrevocably lost, should<br />

there be no mentors to pass their experience on to future generations. "As an exciting anecdote to all<br />


Perspective<br />

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

lord Wedgwood - in the words <strong>of</strong> Inga Walton. "absolutely delightful. urbane and very pr<strong>of</strong>essional" . Photo: Inga Walton<br />

<strong>of</strong> that [upheaval]. in the 'special skills' area, where most <strong>of</strong> what you see is made, we're actually taking<br />

on apprentices, young kids for the first time ever, and teaching them how to carry out the skills that<br />

are so important ...." he enthuses. " I go as far as to say it's my crusade, not mine alone, but I've been<br />

part [<strong>of</strong> itl; it is a crusade to ensure that it does survive." And so the inscription on the back <strong>of</strong> the 'First<br />

Day 's Vase', artes extrurice renascuntur (the Arts <strong>of</strong> Etruria<br />

are reborn), seems just as hopeful as it was 242 years ago.<br />

"<strong>The</strong> words, I think, are very prophetic, and talk about what<br />

Wedgwood is, and hopefully what it will be forever," Josiah's<br />

scion says proudly.<br />

Inga Walton is a writer and arts consultant based in<br />

Melbourne, Victoria who contributes to numerous<br />

<strong>Australian</strong> and international publications. She was<br />

the guest <strong>of</strong> Waterford Wedgwood Royal Doulton,<br />

Australia: www.waterfordwedgwood.com.au<br />

Historical information: www.wedgwoodmuseum.org.uk<br />

, <strong>The</strong> onginal ISsue medallion resides in the National Museum <strong>of</strong> Australia (object<br />

numbel 2004 0062.000 I). A re-rssue plate and Silver pro<strong>of</strong> COin set was launched by<br />

lOfd Wedgwood dunng hiS VISIt last year, In conjUnction with the Perth MInt.<br />

2 More than £ 130 million is owed to the company's pensioners At ISsue IS whether<br />

It IS possible for the terms <strong>of</strong> a charitable trust established in 1962 to be reinterpreted<br />

retrospectIvely, mak.lng the museum and its valuable contents avadable to creditors. See:<br />

W'MV.s.avewedgwood.org<br />

First Days Vase. 2009. Saxon Blue Jasper<br />

hand-painted detailing. h.29cm. Ltd. Ed. <strong>No</strong>: <strong>50</strong><br />


Focus: Ceram ics + Utility<br />

International<br />

Wood-fired Tableware<br />

Artifakt Gallery, Deloraine, April <strong>2011</strong><br />

Clive Bowen (UK)<br />

linda Christianson (USA)<br />

Gwyn Hanssen Pigott (AUS)<br />

Steve Harrison (AUS)<br />

Elisa Helland-Hansen (NOR)<br />

Ian Jones (AUS)<br />

Nigel lambert (UK)<br />

Simon levin (USA)<br />

Sandy lockwood (AUS)<br />

Svein Narum (NOR)<br />

Masaho Ono (JPN)<br />

Micki Schloessingk (WALES)<br />

This exhibition celebrated the material character <strong>of</strong> clay and fire shown by a number <strong>of</strong> recognised<br />

makers who are all committed to wood-firing and th is article provides a glimpse <strong>of</strong> the diversity <strong>of</strong><br />

approach used by twelve makers from various countries. Each one has an individual and expressive<br />

vocabulary arising from years <strong>of</strong> dedicated making which develops the skills and honed judgement that<br />

exhibit intent and certainty in the way clay is handled.<br />

Defining tableware can be a bit <strong>of</strong> a challenge. Initially there is the universal function <strong>of</strong> pots used<br />

for eating and drinking and primarily made for this purpose. <strong>The</strong> work <strong>of</strong> these makers builds on this<br />

basic premise. <strong>The</strong>y use the familiar as a starting point for individual expression and present an evocative<br />

and ambiguous presence, balancing and incorporating utility and aesthetics. However, for the user this<br />

means an opportunity to be engaged by more than mere use. It may be said that use completes the<br />

'mak ing' <strong>of</strong> such work, which provides daily access to art and beauty within the ritual <strong>of</strong> preparing,<br />

serving, and eating food. This nourishment <strong>of</strong> the spirit is valuable in today's world and makes work like<br />

this all the more significant.<br />

Sandy lockwood. April <strong>2011</strong><br />


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

Clive Bowen<br />

<strong>The</strong> form and fundion <strong>of</strong> my work can be<br />

traced back to centuries-old pots such as English<br />

mediaeval jugs and early Tamba ware from<br />

Japan. I hope that I am re-inventing them and<br />

not merely imitating them. <strong>The</strong>re is such a wealth<br />

<strong>of</strong> forms contained within what we might loosely<br />

call 'domestic ware' that one lifetime is not<br />

enough to begin to explore all the possibilities.<br />

My enthusiasm is still with the clay, the slip and<br />

the large wood-fired kiln. For me, wood-firing<br />

brings the pots to life. I enjoy sitting around the<br />

table sharing meals with family and friends; my<br />

main preoccupation is always the fundion <strong>of</strong> the<br />

pieces. I want my pots to be used, not merely to<br />

sit in isolation on a shelf. I want them to be used<br />

to enhance the enjoyment <strong>of</strong> everyday life and<br />

good food.<br />

Linda Christianson<br />

Having made pots now for about 30 years, I<br />

am surprised that it is still both a hopeful and<br />

troublesome effort to make a decent pot. <strong>The</strong><br />

qualities that I sea rch for in my work are fairly<br />

straight forward. I am interested in a pot that<br />

does its duty well yet can stand on its own as a<br />

visual objed. Wood-firing <strong>of</strong>fers a quiet surface<br />

that I am after. <strong>The</strong>se pots are not sculpture,<br />

and they are not art. <strong>The</strong>y seem to ad more like<br />

engaging tools than anything else .<br />

Gwyn Hanssen Pigott<br />

Of all the loved objeds we might have in our<br />

home, it is the pots we use on the table that<br />

become our intimates. We know their feel and<br />

weight. We are careful how we wash them up.<br />

We notice new things about them. My personal<br />

favourites are glazed wood-fired porcelains. <strong>The</strong><br />

tiny crazing and watery pooling <strong>of</strong> the glazes on<br />

Sandy Lockwood's bowls and cups; the flashes<br />

and glaze brightness <strong>of</strong> John Pigott's Tasmanian<br />


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

bowls and beakers. Pleasures to use. <strong>The</strong> glazed<br />

porcelain bowls fired in my small bourry-box<br />

kiln only show their wood-fired origins on<br />

close looking. A certain cloudiness, or s<strong>of</strong>tness,<br />

perhaps. A subtler colour. <strong>No</strong>thing much, one<br />

might say. But worth the effort? I think so.<br />

Steve Harrison<br />

I no longer attempt to make a full range <strong>of</strong><br />

tablewares. I am content at the moment to try<br />

and make a meaningful bowl, and it is proving<br />

to be a much bigger challenge than I originally<br />

conceived. It is important to me to make my<br />

tableware from my local materials and sit this<br />

tableware on a table that I made myself, out<br />

<strong>of</strong> wood that I grew and milled myself, using<br />

tools that I built myself, sitting on chairs that<br />

I made myself, in a house that I built with my<br />

partner Janine King. All this self-reliance is deeply<br />

embedded in my bowls. <strong>The</strong>y appear empty,<br />

but are in fact chock-a-block full <strong>of</strong> intent, so<br />

full that it is hard to fit the food in. It is not just<br />

important that they are beautiful, work well and<br />

feel gorgeous when held, but they must mean<br />

something more than a mere receptacle.<br />

Over the 40 years <strong>of</strong> my career as a potter, I<br />

have become interested in aspects <strong>of</strong> the real,<br />

the tangible, the hand made, a sense <strong>of</strong> place,<br />

the 'terroir' <strong>of</strong> a locality. I have no interest in the<br />

fast track and the cheap throwaway. I want real<br />

things around me, things that will stay around<br />

me and develop a patina <strong>of</strong> age and a meaning<br />

born <strong>of</strong> context and familiarity.<br />

Elisa Helland-Hansen<br />

I have a passion for pots.<br />

<strong>The</strong>y challenge me.<br />

<strong>Vol</strong>umes. Curves. Colours. Tactilities. Weight.<br />

Freshness. Surprise. Sharpness.<br />

Merging utility and aesthetic qualities.<br />

Breathing. Asking . Seeing. Reflecting.<br />

Adding. Subtracting. Distilling.<br />

Senses are activated.<br />

Experiences are tested.<br />

Pots embody many potentials.<br />

At its best - touching you.<br />

Communicating.<br />

Making pots for food is a life commitment<br />

for me.<br />

I enjoy using any kind <strong>of</strong> kiln, but wood-firing<br />

is definitely the hardest and most rewarding<br />

firing method.<br />

Ian Jones<br />

<strong>The</strong> teabowls I make are fired for four and<br />

a half days in the main firebox or, for the dark<br />

high-iron clay, in the sidestoke firebox <strong>of</strong> the<br />


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

anagama kiln. <strong>The</strong> forms are thrown, constructed<br />

and carved, and I am striving to achieve a<br />

sculptural quality that will not only appear<br />

dynamic and graceful to the eye, but will also<br />

feel interesting to the hands. Relatively few <strong>of</strong><br />

the finished pieces are successful due to their<br />

location in the firebox, however I find the ash<br />

deposits from the anagama give a quality and<br />

variety to the bowls that I cannot envision from<br />

any other type <strong>of</strong> firing, and that justifies the risk.<br />

depth <strong>of</strong> image. <strong>The</strong> pots are then fired in an<br />

80cubic foot wood-fired kiln to 1100°C, the ash<br />

and flames imparting individual qualities to each<br />

piece.<br />

Nigel Lambert<br />

Nigel began his love <strong>of</strong> pottery and paintings<br />

whilst at art college in Cornwall. His interest in<br />

the work <strong>of</strong> abstract painters and other artists<br />

from the Cornish peninsula has influenced his<br />

work and the decorative marks he makes.<br />

Nigel established his first workshop in Bristol<br />

in 1987. This lasted until 1990 when he moved<br />

to the Forest <strong>of</strong> Dean, where he currently lives<br />

and works. Pots are thrown or pressed from flat<br />

sheets <strong>of</strong> clay, then cut and re-formed into oval<br />

and square forms. <strong>The</strong>y are then dipped in a<br />

white clay slip, dried and raw glazed to produce<br />

a flat white surface on which the blue oxides are<br />

painted with new and old brushes, odd bits <strong>of</strong><br />

sponge, and fingers. Lines and motifs are <strong>of</strong>ten<br />

scratched through the blue, adding an extra<br />

Sandy Lockwood<br />

Wood-firing has an astonishing capacity for<br />

bringing clay to life, with a subtlety <strong>of</strong> colour and<br />

surface that changes and interacts from one side<br />

<strong>of</strong> a piece to another. Firing with wood reveals<br />

a full and sometimes elusive dimension to the<br />

work and intention <strong>of</strong> the hand. <strong>No</strong> two pots<br />

can ever be the same. Like humans, they are all<br />

essentially individual but related. Wood-firing<br />

matches the way I approach my work. Exploring<br />

form along with use is as engaging a path as any<br />

available in this extraordinary medium <strong>of</strong> clay.<br />

<strong>The</strong> challenge <strong>of</strong> integrating form and function<br />

interacting with aesthetic expression is quite<br />

significant. Making tableware also helps me to<br />

stay 'real and grounded' through the process<br />

<strong>of</strong> making rows and mUltiples <strong>of</strong> work and<br />

maintaining mindfulness <strong>of</strong> the eventual user.<br />

Holding and using pots every day draws all the<br />

senses in colour, texture, pattern, weight, heft<br />

and feel, how it fits one's hand and how it serves<br />

its purpose. I consider it a great lUXUry to choose<br />

a plate to suit my mood and what I am about to<br />

put on it.<br />


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

Simon levin<br />

<strong>The</strong>re is so much about tableware that excites<br />

and interests me, and <strong>of</strong> all the utilitarian pottery<br />

I make, it asks to be used the most - every day,<br />

sometimes many times a day. We have a stack <strong>of</strong><br />

plates that diminishes and re-stacks and travels<br />

to the table and back, from the sink to the<br />

dishwasher then to the cabinet and back to the<br />

table. Those plates gets touched, used, carried,<br />

cleaned and interacted with more than any other<br />

objects in the house. And despite the traffic and<br />

drama <strong>of</strong> everyday life. there is <strong>of</strong>ten a moment<br />

where something is revealed in those plates, in<br />

the way the maker chose to cut a foot ring, or<br />

the way a green lettuce leaf sets <strong>of</strong>f an orange<br />

flash mark.<br />

Tableware is an opportunity to serve, and while<br />

serving, communicate. It is access. In making<br />

tableware it is important to me to make s<strong>of</strong>t<br />

usable forms that slide into the hand and make<br />

you want to touch the clay. To heighten this<br />

interaction I seek to capture a range <strong>of</strong> colours<br />

and an interplay <strong>of</strong> flame on raw clay surfaces to<br />

draw the user in. I stay away from shiny, drippy<br />

ash, looking for satiny surfaces that absorb light<br />

rather than reflect it. <strong>The</strong>se surfaces visually<br />

interact with the food's colours. oils and sauces,<br />

generating a changing palate depending on the<br />

menu. A painting in a museum should be so<br />

lucky.<br />

Svein Narum<br />

In a time when ethical and moral standards are<br />

floating in all directions, and fewer are occupied<br />

with religion, many ceremonies and rituals are<br />

gone from our daily life. For years the meal has<br />

been my source <strong>of</strong> inspiration. Friends and family<br />

gathered around the table to eat and talk and<br />

enjoy the food. For those <strong>of</strong> us who seek God<br />

in nature, a meal, no matter how modest, can<br />

be a holy communion. <strong>No</strong>w that people care<br />

about how food is produced and the way it is<br />

presented, makers <strong>of</strong> domestic pottery made<br />

with love have a bright future.<br />


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

Masaho Ono<br />

I live in the pottery town <strong>of</strong> Mashiko. I use raw<br />

material from just around my area. I use a kick<br />

wheel so I can more easily transfer my feelings to<br />

the clay. My kiln is a climbing kiln which mostly<br />

brings me much more exciting results than<br />

I expect, though not all the time.<br />

I use this simple production method to make<br />

ware for daily use.<br />

During my daily work I enjoy 'talking' with<br />

those unknown potters who made such strong<br />

historical pieces, such as the giant jar made in<br />

Tokoname district in the Heian period (12th<br />

century). I feel connected to them mentally and<br />

spiritually. <strong>The</strong>y are always telling me, "Your skill<br />

still has a way to go". I reply, "Maybe, but I have<br />

the same determination and dedication as you to<br />

making good work."<br />

Micki Schloessingk<br />

Where does tableware belong now? On<br />

the table? Which table? Most <strong>of</strong> us no longer<br />

separate the place where we eat from the<br />

place where we live. Kitchens and dining rooms<br />

have merged, becoming spaces that can be<br />

transformed in a moment. One minute the table<br />

is covered with a child's paint pots, busy with<br />

clutter, the next it is set for a dinner party.<br />

<strong>No</strong> longer confined to the kitchen, pantry<br />

or mantelpiece, our 'tableware' takes on the<br />

mood and charge <strong>of</strong> the moment, dramatically<br />

transformed by how it is used and where it is<br />

placed. One moment my bowl is comfortable in<br />

the hand, holding a beaten egg. Minutes later,<br />

washed and dried, it sits elegantly on the set<br />

table, awaiting guests and a gourmet meal. Later<br />

still, washed again, it finds repose on a high<br />

shelf, displayed now, its form clear and spare,<br />

with space to breathe.<br />

International Wood-fired Tableware<br />

Artifakt Gallery. Deloraine<br />

21 April - 2 May <strong>2011</strong><br />

in conjunction with Woodfire TAS <strong>2011</strong><br />

Woodfire TAS <strong>2011</strong> gratefully acknowledges<br />

the contribution <strong>of</strong> Tasmanian Alkaloids and<br />

Tasmanian Ceramic and Pottery Supplies<br />

towards the printing <strong>of</strong> the exhibition<br />

catalogue.<br />

This article is a reprint <strong>of</strong> the gallery catalogue.<br />

Photos: courtesy Artifakt Gallery. Tasmania, and<br />

Sandy Lockwood (curator).<br />


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

Malcolm Greenwood, Teapot<br />

2009, porcela in, 1300'(, plum<br />

red glaze, h.l0cm<br />

Photo: Steve Cummings<br />

In the Making<br />

Anna Lise De Lo renzo from &company in conversation with Malcolm Greenwood<br />

Anna:<br />

I met Malcolm Greenwood a little over a year ago to discuss his possible involvement in upcoming<br />

projeds with my design studio, &company. Sydney-based &company presents creative opportunities<br />

for emerging designers, primarily through exhibition curation and the production <strong>of</strong> a locally-made<br />

homewares range. Whilst many <strong>of</strong> our designers are also makers, they are not set up for commercially<br />

viable produdion. We spend a lot <strong>of</strong> time sourcing makers with whom we can forge strong,<br />

collaborative working relationships. I value Malcolm's generous sharing <strong>of</strong> ceramics knowledge and<br />

finely honed skills as much as his frank honesty and salt-<strong>of</strong>-the-earth demeanor. Malcolm makes one<br />

<strong>of</strong> our produdS, Bounty shells by Naomi Taplin &company, and we have just begun discussions on a<br />

new product. Malcolm's design input, ethos, experience and friendship have woven themselves into<br />

our studio. I sat down with him over a cup <strong>of</strong> tea to chat about the value <strong>of</strong> locally made utilitarian<br />

ceramics, and the process <strong>of</strong> taking design ideas through to the finished product.<br />

Malcolm:<br />

<strong>The</strong> way <strong>Australian</strong> ceramics has gone, it can seem as though utility is really looked down on - it is<br />

<strong>of</strong> no great value. Most people are concerned predominantly with price, either because <strong>of</strong> affordability,<br />

or they find quality and aesthetics irrelevant. People don't see the beauty, or value, in, for instance,<br />

a really nicely made bowl that is a pleasure to use as much as the feeling you get from looking at or<br />

holding it. For me, this has been a struggle because I like to make things that people use, pieces with<br />

simple, functional beauty. I'm rea lly interested in the Japanese philosophy <strong>of</strong> ceramics, where a rice bowl<br />

is deeply appreciated both for its everyday use as much as seeing that bowl as an art objed in itself.<br />

Here, for the most part, we don't do that. I want to design things that work: they have to not just fulfil<br />

a function, but be pleasant to use, nice to look at, and effective. <strong>The</strong>re 's no point in having a beautiful<br />

teapot if it doesn't pour tea.<br />

<strong>The</strong> evolution <strong>of</strong> a new product can <strong>of</strong>ten take years. I have been working on some shapes for 20<br />

years or more. It starts with an idea. I don't really sketch that much; instead I go into the workshop and<br />

start making. I might have seen a particular bowl in my wanderings so I start working on the shape and<br />

developing it. I don't photograph it necessarily, and I don't try to repeat it. It may take months, if not<br />


Focus: <strong>Ceramics</strong> + Utility --------- -- -- -- -<br />

Malcolm Greenwood<br />

Head models, 2010<br />

porcelain, 1300'(<br />

slips, ash glaze, h. gcm<br />

w.12cm. d. 14cm<br />

Photo: Steve Cummings<br />

years, to develop the shape, and the form continues to change through years <strong>of</strong> production. Fifteen<br />

years ago my teapot form was very spherical, then it got wider and flatter. As I began to use it regularly<br />

myself, I started thinking about it a bit more and now, ergonomically, the newer shape works really well;<br />

it pours perfectly and looks good. Being both a designer and a maker, I have that ability to think about<br />

a piece, make it, and if it doesn't work I can go back and make it again.<br />

<strong>Ceramics</strong> is such an old craft. For centuries we have been digging clay out <strong>of</strong> the ground, modelling<br />

it with our hands or simple tools and firing it, so not much has changed. And I like that idea <strong>of</strong> using<br />

those first principles; maybe it keeps me more in touch with the materials and the processes. I've been<br />

making production ware every day for the last twenty years or so, and the improvement in my skill level<br />

is phenomenal. Making bigger or more complex pieces is now relatively easy because I don't really have<br />

to think much about technique.<br />

I have always been a practical person, and my engineering background has impacted my interest in<br />

a pragmatic approach to ceramics. I have struggled to get away from the symmetry <strong>of</strong> engineering and<br />

it's only in recent years that more freedom and fluidity has come into my work - I think that freedom<br />

was enabled by the mastering <strong>of</strong> perfect symmetry in the first place. My engineering experience has<br />

allowed me to think in three dimensions and to approach production work effiCiently, both critical to<br />

my designing and making process. I recently began work on an architectural project which involved<br />

the development <strong>of</strong> an installation <strong>of</strong> heads. <strong>The</strong> 9rief required a series <strong>of</strong> large-scale forms so I was<br />

challenged by the lack <strong>of</strong> available space in my small workshop and by the need to move outside the<br />

techniques I prefer. <strong>The</strong> ideas were developed over several months as I made observations (particularly<br />

during recent travels Japan China and Tibet), contemplated possible forms and how they would sit with<br />

my pragmatic approach. All that prior experience meant that when I sat down to make the heads, the<br />

designs simply worked.<br />

I really enjoy working with chefs, interior deSigners, architects and other clients who are engaged<br />

in the designing and making process. When you work with people who are just focused on price, the<br />

process is really awful. Clients can have very different approaches when communicating their ideas to<br />

me. Industrial designer Andrew Simpson came in with a technical drawing, and with my engineering<br />

background, I could easily read that drawing and convert it to a finished product. It's the collaborative<br />

process I really enjoy. It's great when the new generations come in with a really new approach and we<br />

can resolve the product, it's really stimulating.<br />


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

l<br />

r •<br />

r<br />

r<br />

ICIIU<br />

• ;~Rf::'.=.,z,C·.:rj.-; .sa- ,_ ..<br />

'-\E?til'"-"--<br />

Top: Vert Design, Rice Cup final drawings, 2006, techntcal drawings<br />

Above: Andrew Simpson. Vert Design, Rice Cup, 2010, porcelain, 13000(, matt black and white glazes, h.8cm<br />

Photo: Vert Design<br />


Malcolm Greenwood, Bowl<br />

<strong>2011</strong>, porcelain, 1300"(, blue<br />

celadon glaze, diam. 14cm<br />

Photo: Steve Cummings<br />

Restaurants usually have a concept that I have to interpret When I did the cup for Southern Ocean<br />

Lodge, it had to hold a certain amount and be sort <strong>of</strong> elegant - not real refined, but not clunky, and so<br />

I came up with a simple elegant shape for them. I have worked with many restaurants over the years,<br />

such as the Japanese restaurant, Masuya. <strong>The</strong> owner allowed me a lot <strong>of</strong> creative leeway; even though<br />

he had a certain idea <strong>of</strong> size, shape and particular function, within that framework I could put my touch<br />

on it In this case the owner has definitely differentiated Masuya from other Japanese restaurants by<br />

using my tableware. <strong>The</strong> Japanese respect and appreciation for the potter is amazing, and that resulting<br />

relationship and mutual respect is important for me.<br />

<strong>The</strong>re is <strong>of</strong>ten a lack <strong>of</strong> understanding <strong>of</strong> the importance <strong>of</strong> designing something that is as easy as<br />

possible to make, so you can get it to market for the right price. Working out the design so it facilitates<br />

the manufacture is really important and that's what most people I work with don't consider. We can<br />

make changes in the design that don't affect the look or the performance <strong>of</strong> the product, but make<br />

it much easier to produce. <strong>The</strong> &company Bounty shells, for which designer Naomi Taplin wanted to<br />

Malcolm at the wheel; photo: Nick De Lorenzo<br />


Focus : Ceram ics + Utility<br />

Malcolm press-moulding the Bounty shells, 2010: photo: Nick De Lorenzo<br />

Naomi Taplin & Company, Bounty, 2010,<br />

porcelain, 1300"C, nuka glaze, h.2cm,<br />

w. Scm, d. 1 Gem; photo: Nick De lorenzo<br />

use Southern Ice porcelain, are a good example. Because we needed to use press moulding for that<br />

particular product, we could have easily lost <strong>50</strong>% <strong>of</strong> the stock with Southern Ice. By using a slightly<br />

different clay the shells became much easier to make, and most people would not pick the difference.<br />

Working with Naomi is probably somewhere in between all these different approaches to production.<br />

She has a mould and prototypes <strong>of</strong> what she wants and we have to identify the best way to do it. It's<br />

great when the client is really interested in the ins and outs <strong>of</strong> working with clay. You learn from each<br />

other, you get inspired to bring in some new qualities and elements, you influence each other, and I love<br />

it.<br />

I asked two Sydney-based designers to share their experiences <strong>of</strong> working with Malcolm.<br />

Emerging designer and maker Naomi Taplin (Naomi Taplin, &company Bounty shells):<br />

Talking with Malcolm about the issues that had arisen in prototyping was fantastic. Malcolm was<br />

easily able to understand and replicate my design. It was inspiring to work with someone who is so<br />

experienced, and the process <strong>of</strong> moving the design into production was far less stressful than I had<br />

imagined. <strong>The</strong> steps <strong>of</strong> making, drying and finishing the products takes place around Malcolm's other<br />

daily work. I respect Malcolm's production process and the way my product is woven into his existing<br />

practice.<br />

Industrial Designer Andrew Simpson (Vert Design, Rice Cup):<br />

I had worked with four other ceramicists before meeting Malcolm and his attention to detail<br />

and knowledge <strong>of</strong> his craft makes him second-to-none. I communicated my designs to him using<br />

engineering drawings and handmade prototypes. Malcolm was able to tell me all the shrinkage rates<br />

that meant that we could supply him with laser cut tooling and jigging pr<strong>of</strong>iles to make sure that our<br />

finished product was crisp and consistent. Malcolm always takes the time to talk through his processes<br />

so that I can better understand how my design dictions will affect how the materials behave. Good<br />

design uses materials to their full potential and Malcolm has helped me to be a better designer.<br />

Anna Lise De Lorenzo is a director <strong>of</strong> &company, a design studio made up <strong>of</strong> emerging<br />

designers and their products; www.andcompany.com.au<br />

www.malcolmgreenwood.com<br />


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

---<br />

Right: Jane Burbidge at the wheel<br />

One Thousand Magic Bowls<br />

Ca role Lander reports on a special event at Port Willunga<br />

Serendipity recently brought about a revival at the JamFactory in Adelaide, South Australia;<br />

a resurgence <strong>of</strong> interest in hand-throwing and production pottery.<br />

Firstly, the new director <strong>of</strong> the JamFactory, Brian Parkes, appointed award-winning ceramicist Prue<br />

Venables to his staff.<br />

Secondly, acclaimed restaurateur Gay Bilson coordinated a food event called 'One Magic Bowl' for the<br />

Adelaide Film Festival and asked Prue to organise the production <strong>of</strong> one thousand ceramic bowls for the<br />

occasion.<br />

So, thanks to a celebration <strong>of</strong> the visual arts, a former chef and a ceramicist who recently arrived in<br />

Adelaide, a group <strong>of</strong> South <strong>Australian</strong> potters are back in business.<br />

<strong>The</strong> Jam Factory came into being in the 1970s when then premier Don Dunstan established the<br />

Adelaide Arts Festival, and South Australia was branded as the Festival State. <strong>The</strong> fact that it now<br />

remains the only art and craft establishment <strong>of</strong> its kind in Australia is a tribute to the ongoing funding<br />

policy <strong>of</strong> Arts South Australia.<br />


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

Green and blsqued bowls<br />

Below: Glazed bowls drying<br />

A series <strong>of</strong> workshops and studios, with exhibition spaces and a shop, this not-for-pr<strong>of</strong>it organisation<br />

currently sits neatly among arts-related buildings on the east side <strong>of</strong> Adelaide's CBD. Pottery is a strong<br />

feature <strong>of</strong> the JamFactory's success and Prue Venables is already making her mark as the Creative<br />

Director <strong>of</strong> the ceramic studios.<br />

Prue has established tier own reputation as a maker and exhibitor across the world. She brings to her<br />

new posit ion a wealth <strong>of</strong> expertise and an abundance <strong>of</strong> enthusiasm to maintain the reputation <strong>of</strong> this<br />

institution in the field <strong>of</strong> pottery and ceramics. <strong>The</strong> invitation from Gay Bilson was just one <strong>of</strong> several<br />

projects that Prue has introduced, but this particular one was the first to inject interest in the craft from<br />

local potters. It also provided a valuable learning experience for the JamFactory associates.<br />

<strong>The</strong>se associates come from all over Australia, and most already have a qualification but use the<br />

hands-on experience <strong>of</strong>fered at the JamFactory to develop their careers. Projects such as One Magic<br />

Bowl provide them with valuable experience in making a living out <strong>of</strong> their craft. <strong>The</strong>re are also resident<br />

artists who occupy studio space; they have their own practice and work on projects which earn money<br />

for the JamFactory.<br />


Focus : <strong>Ceramics</strong> + Util ity<br />

-------<br />

finished bowls<br />

After producing an acceptable prototype bowl for Gay, Prue set about looking for the workforce to<br />

produce 1000 <strong>of</strong> them between October 2010 and February <strong>2011</strong> with a few days' break for (hristmas.<br />

She needed more than the Jam Factory's trainees and residents for this enormous task .<br />

Prue discovered there were lots <strong>of</strong> people in the area who used to be production potters but who<br />

had just stopped. "<strong>The</strong>y had given up for a variety <strong>of</strong> reasons and the good news is that the ones who<br />

joined the team said they really loved being involved in the project and are now going to make this part<br />

<strong>of</strong> their lives again."<br />

Prue measured the wet clay used in her prototype and instructed her makers to use this amount for<br />

each bowl. "I wasn 't too strict because <strong>of</strong> the time restraint. I just wanted the bowls to look beautiful<br />

but not necessarily identical. <strong>The</strong> differences were s<strong>of</strong>tened by the glaze."<br />

Gay's idea was to have a truly local event, so terracotta clay from South Australia 's historic Bennett's<br />

Pottery at Magill was used. 'This clay is very robust and a delight to throw,' says Prue. 'Because the<br />

bowls would contain hot soup or stew and be held by hand, they had to have a turned foot on the<br />

base. One <strong>of</strong> the team, Jane Burbidge, could produce one hundred bowls in one day and turn them the<br />

next - a phenomenal record.'<br />

After being bisque fired at 980 0 (, the bowls were hand-dipped in a tin glaze. After the second<br />

firing at 11<strong>50</strong> 0 ( they came out <strong>of</strong> the kiln a creamy white colour, matching the cliffs and sand at Port<br />

Willunga, the location for the event. Where thin, the glaze s<strong>of</strong>tened to a sandy brown revealing the<br />

clay's natural terracotta colour. As a final flourish, the inside <strong>of</strong> each bowl was stamped with a seaweed<br />

motif in blue, reminiscent <strong>of</strong> the turquoise sea .<br />

<strong>The</strong> final step was to pack the bowls carefully in cardboard boxes so they could be transported to the<br />

venue . Watching them being driven <strong>of</strong>f, Prue and her team were very proud <strong>of</strong> their efforts in producing<br />

such a large quantity in such a short period <strong>of</strong> time.<br />


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

Left: Spot the bowls at sunset<br />

Below left: Victory Hotel chefs<br />

ready to serve dinner<br />

Below: Prue Venables at the<br />

event<br />

In a summer <strong>of</strong> unpredictable weather, the gods were smiling on Sunday 27 February when a 35-degree<br />

day with clear blue sky mellowed into a perfect evening for the One Magic Bowl event. On the tip <strong>of</strong> the<br />

Fleurieu Peninsula, Port Willunga is an hour's drive from Adelaide through the McLaren Vale wineries.<br />

Visitors picked up their bowls from the stacks at the entrance to the beach and added them to their picnic<br />

sets, not just for the dinner but also as a memento to take home.<br />

Meals were served from small tents along the beach and the menu was truly multicultural: there was<br />

curry, con gee, chowder, ravioli and couscous, all served with locally baked bread. Wine and beer could be<br />

purchased to complement the dinner and, as the sun set over the water, a light show and film stills were<br />

projected on to the cliffs.<br />

<strong>No</strong>t all the potters who made the bowls were able to make it to the event but those who did, including<br />

Prue and her director Brian Parkes, were able to mingle with the crowd incognito and witness the<br />

success <strong>of</strong> this major project which did more than help to feed a crowd, it reinforced the purpose <strong>of</strong> the<br />

Jam Factory which has always been to nurture the ca reers <strong>of</strong> talented artists, craftspeople and designers.<br />

Carole lander is a freelance writer and editor based in Melbourne,<br />

www.jamfactory.com.au<br />


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

---<br />

<strong>No</strong>t Just a Dinner Plate<br />

<strong>The</strong> maker and the student talk tableware with Karen Weiss<br />

David Edmonds is a successful Sydneybased<br />

ceramic artist and designer-maker who<br />

specialises in producing handmade tableware<br />

for the high-end market He works with several<br />

skilled part-time assistants.<br />

Karen Weiss (KW): Can you tell me<br />

something about your background, where your<br />

interest in clay began?<br />

David Edmonds (DE): It was just a hobby, an<br />

interest At school they had an old wheel and<br />

one small kiln. I went on to art school and I had<br />

some really interesting teachers - Maria Gazzard<br />

and Peter Travis. I spent twenty-five years<br />

throwing and working for other people, mouldmaking,<br />

gaining skills, and still had a real passion<br />

for it ... this material with which I've had a lovehate<br />

relationship for such a long time. (Laughs)<br />

I made a decision at forty to make a living<br />

out <strong>of</strong> what I was doing, rather than working<br />

for other people. That's been a real challenge. But through the support <strong>of</strong> a lot <strong>of</strong> friends, I thought I<br />

had to give it a go. I did quite a bit <strong>of</strong> research and I knew I had to produce something that was very<br />

different. I had fairly definite ideas about what I didn't want, which in hindsight is important .. it does<br />

lead you in a direction.<br />

KW: Your work seems to draw on a <strong>50</strong>'s aesthetic. Can you say something about that?<br />

DE: I have a really minimal aesthetic; a strong clean form. Because the work is so deceptively simple,<br />

people think it is very retro and very safe, or they think it is very contemporary and very modern. It does<br />

have to appeal to different people on different levels. I've seen this product in very modern settings, in<br />

country kitchens, in commercial settings - it seems to fit. IHow itl came about ... wasn't calculated; it<br />

was really intuitive. It comes from a long time looking at it and thinking about it.<br />

KW: Have you a particular market or clientele in mind?<br />

DE: <strong>The</strong> reality is that Australia is a small, incredibly competitive, educated market so you have to<br />

appeal to as many people as possible. It has to be a quality prodUct. <strong>The</strong> younger generation <strong>of</strong> people<br />

who are setting up houses and collecting, they're led by colour. I don't do white; I do a s<strong>of</strong>t colour that I<br />

call vanilla ... why would you compete with the commercial market?<br />

36 THE 10URNAl OF AUSTRALIAN CERAMICS JULY <strong>2011</strong>

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

David Edmonds. Blue and Vanilla<br />

Pla te Set, 2010, hand-built, w.5Scm<br />

Photo: Warrick Orme<br />

David Edmonds, Dinner Set<br />

20 II, hand-built, w.28cm<br />

Photo: courtesy artist<br />

My idea is not to get my product everywhere but to get it into the best stores - leaders in the market.<br />

You can't sell to this market; it's much more organic, more subtle. You provide an object <strong>of</strong> desire that<br />

they want. I want to make as beautiful objects as I can, that show <strong>of</strong>f food, that enhance that daily<br />

experience.<br />

Every two years I do a signature range for an exhibition which informs the domestic range and<br />

pushes me a bit too. It's a real juggle. <strong>The</strong>re is that ideal about having the freedom to do what you<br />

want, and paying your overheads. I don't think many people do that really.<br />

KW: Do you start with an idea and research it?<br />

DE: It 's a continuum, looking and thinking and absorbing. I wanted to make something that was<br />

a marriage between colour and form and the surface, and so there 's no foot, the inside flows and<br />

becomes the outside. <strong>The</strong> object is a vessel; but it's not, as well. I wanted to make every object unique<br />

but it had to be repeated. It was freedom to not make the same thing day after day. I don't think I've<br />

compromised anything to do what I do. I think the challenge to keep it real is much more interesting.<br />

THE IOURNAl OF AUSTRALIAN CERAMICS IUlY <strong>2011</strong> 37

Focus: Ceram ics + Utility<br />

Anne Braithwaite is a student at <strong>No</strong>rthern Beaches TAFE<br />

and is completing her Advanced Diploma <strong>of</strong> Fine Arts with a<br />

focus on tableware. She works part-time as a nurse.<br />

Karen Weiss (KW): How did you start with clay?<br />

Anne Braithwaite (AB): <strong>The</strong>re was the craze for painting<br />

on moulded pieces, the Paint-A-Plate thing. By the time I had<br />

five cups the same shape, I was over it. <strong>The</strong>y said, "Why don't<br />

you go down to <strong>No</strong>rthern Beaches TAFE." My background<br />

is nursing. I had never seen clay in my life. <strong>The</strong> first class I<br />

watched John Edye throw a bowl and I got goosebumps, and<br />

that was it. I've spent fifteen years at <strong>No</strong>rthern Beaches TAFE<br />

which is a fantastic place for expert advice.<br />

KW: What is it about tableware that intrigues you?<br />

AB: Functional ware to me is the most sensuous, delightful<br />

way <strong>of</strong> being surrounded by pieces. I can never understand putting the effort into cooking a dish and<br />

then putting it on a plain white plate; there's nothing to enhance the food. You need a certain type <strong>of</strong><br />

plate or bowl for a certain type <strong>of</strong> food. <strong>The</strong> two go together. It makes [eating) a pleasurable, relaxing<br />

event. It's nice watching [people) unconsciously running their hands around the side <strong>of</strong> a plate or<br />

stroking a cup while they're talking. <strong>The</strong>y wouldn't do that with a mass produced plate. That 's what<br />

makes me feel good inside.<br />

KW: You 've visited Japan several times and use a Shigaraki-type clay and Oribe and Nuka style glazes,<br />

what draws you to this aesthetic?<br />

AB: It's the unexpected I like in the Japanese [ceramics). the happy accidents. I love their philosophy,<br />

the heritage, the contemporary Japanese potters who have taken on the traditional side and opened it<br />

right up. <strong>The</strong>y look at something for what it is, not necessarily for what they were going to do. [With<br />

my work) I <strong>of</strong>ten start with an accident that's happened to something else. I think - that could be<br />

developed, do some drawings, do some tests, take it a bit further - then more accidents happen. It's<br />

always tangents.<br />

KW: How do you feel about marketing your work?<br />

AB: When you make handmade pieces, it's never going to be a huge market, unless you are massproducing<br />

moulded pieces. <strong>The</strong> pieces I've put in galleries sell well, so the market's there.<br />

Marketing and getting your name known is a very big part <strong>of</strong> being able to sell your work for what<br />

it's worth. I'd rather be making, but when you are getting out there, you are meeting gallery owners<br />

and people who are passionate about ceramics.<br />

You're always told if you have a passion for what you're making, it will come out in your work. But<br />

one article I read said, if you want to sell your pots, buy fashion magazines, interior design magazines,<br />

because you'll be way ahead <strong>of</strong> your peers on the trends that are happening and can change your<br />

glaze and your style quite quickly to go with that. I find that a bit cold. I don't know if I could do that.<br />

Fortunately, I've never had the pressure <strong>of</strong> supporting my family from my pots.<br />

KW: Can you see you supporting yourself from your work?<br />

AB: I would like to get it up to <strong>50</strong>% <strong>of</strong> my income, but that would be an awful lot <strong>of</strong> pots. With the<br />

nurSing, I feel I'm achieving a good balance at present. It's keeping me in the two worlds that I love.<br />


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

1 Cup, wheel-thrown, handcarved.<br />

white satin glaze, woodfired,<br />

h.l Ocm<br />

2 Side plate, slab-built, cut and<br />

hand-carved, wood-fired, shino<br />

glaze, diam.19cm<br />

3 Cups, wheel-thrown, hand<br />

carved, Oribe style glaze<br />

4 Large bowl, wheel-thrown,<br />

hand-carved, Oribe style glaze,<br />

h.12cm, w.22cm<br />

Photos: artist<br />

All work was made by Anne<br />

Braithwaite In 2010. uSing<br />

a self-formulated blend <strong>of</strong><br />

commercial clays to achieve a<br />

Shigaraki-style clay body suitable<br />

for both wood-fire and oXidation.<br />

All Oribe-style glazed work was<br />

fired in oxidation; all others were<br />

wood-fired.<br />


Focus: Ceram ics + Utility<br />

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

Gregory Bonasera, Segmenta Bowl, (in collaboration with Shapeways), <strong>2011</strong>, porcela in, h.3.6cm, diam.19cm<br />

Photo: courtesy artist<br />

Ceramic Innovation<br />

Inga Walton considers Gregory Bonasera's design strategy<br />

Tucked away behind a typical industrial fa

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

Gregory Bonasera studio shot; photo: Paul Barbera, www.wheretheycreate.com<br />

to produce any other way. It's difficult to predict where this will go but it's fascinating and exciting."<br />

And a little worrisome? Bonasera certainly isn't concerned that he's going to be out <strong>of</strong> work. " I don't<br />

think or hope that this technology will make handmade ceramics redundant, it just <strong>of</strong>fers a new option.<br />

I think you'd still need to have a good understanding <strong>of</strong> ceramics to really exploit the technology, and<br />

most industrial designers don't," he said .<br />

Despite the concept being in its early stages, Bonasera's first 3D item, the Segmenta Bowl (<strong>2011</strong>)<br />

which he designed in two days, was nonetheless ready in time for exhibition at the International<br />

Contemporary Furniture Fair in New York City (14-17 May). "Exposure at such events is important, as<br />

it contributes to a pr<strong>of</strong>ile which people recognise and remember, which in turn contributes to viability, "<br />

he remarks. "It also puts me at the coal-face, and it's a great way for me to get direct feedback from<br />

people who are likely to buy or specify my work." Bonasera graduated from Monash University in the<br />

late 1980s with a BA in ceramic design, specialising in slip-casting, and went straight into a studio<br />

situation making metal furniture, primarily in stainless steel. "I have always produced work to sell,<br />

whether it be bespoke pieces to order or batch-produced products. I rarely exhibit my work because<br />

I'm a designer, not a fine artist, or a potter necessarily. In Europe there are design galleries but,<br />

unfortunately, we don't really have the same here."<br />

Bonasera's formative years were critical in terms <strong>of</strong> developing and responding to his creative<br />

impulses, with the opportunity and encouragement to pursue his own projects. His father was a<br />

traditionally trained upholsterer and maker and restorer <strong>of</strong> furniture, who worked firstly for Fleur before<br />

branching out on his own. "I spent a great deal <strong>of</strong> my childhood in my father's furniture workshop<br />

where he <strong>of</strong>ten restored very decorative antique chairs. I thought many <strong>of</strong> the pieces were so beautiful,<br />

but so <strong>of</strong>ten not entirely comfortable or functional; they were, however, relevant and appropriate for<br />


Gregory Bonasera, Cu rio IV, cervical vertebrae<br />

clear glazed porcelain, ceramic decal. h.2Scm<br />

Photo: courtesy artist<br />

Gregory Bonasera, Curio VIII, Ghost Garden Vase<br />

unique composition, clear glazed porcelain, h.37cm<br />

Photo: courtesy artist<br />

their time," Bonasera recalls . "I think my work is quite similar in that it <strong>of</strong>ten straddles a line between<br />

functionality and decoration. It's important that my work is functional, but the aesthetic is what gives it<br />

uniqueness. I don't think something needs to be functional to justify its existence. It's also a worthwhile<br />

challenge to bring a fresh aesthetic to a functional object."<br />

Although he still undertakes a certain amount <strong>of</strong> bespoke and commissioned projects (primarily<br />

lighting) - "it's always a welcome break from production work, which can become dulling after a while"<br />

- it is for his bowls, vases and beakers that Bonasera is most renowned. Having designed mould-formed<br />

vessels in steel, resin and glass in the 1990s, Bonasera is now entirely focused on the development <strong>of</strong><br />

ceramic works, strongly influenced by organic, architectonic, and hybrid forms. " My aesthetic is quite<br />

visceral; I do what feels right. My style is really an organic geometry in both the product ranges and<br />

the WOnderkammer range, which is about paying homage to the stunning brilliance <strong>of</strong> nature, " he<br />

comments. " In my childhood home we had our 'nature shelf' where objects from the natural world<br />

would be placed to be admired; this instilled in me a respect and fascination for such things." <strong>The</strong><br />

range was what Bonasera calls a 'high end concept' which originated as the solo exhibition My Garden<br />

(2007), a metaphor for fertile creative ground in his design practice, at Craft Victoria as part <strong>of</strong> the<br />

Melbourne Design Festival.<br />

<strong>The</strong> 'Museum' and 'Curio' pieces in clear glazed porcelain tie into the more recent renewal <strong>of</strong> interest<br />

in various historical areas <strong>of</strong> quasi-scientific collecting and connOisseurship. "I love repetition, and the<br />

OPPOsIte page: Gregory Bonasera, Elk Vase , basalt colour, glazed porcelain, h.33cm; photo: courtesy artist<br />


Focus ; <strong>Ceramics</strong> + Utility<br />

radial repetition in much <strong>of</strong> my work, including Curio IV-V,<br />

emphasises the precision and geometry <strong>of</strong> the bones. I'm<br />

also fascinated by the engineering solutions resulting from<br />

evolution evident in bones. <strong>The</strong>y really tend to creep some<br />

people out, but I don't th ink they should," he reasons. "I think<br />

it's because animal bones remind us <strong>of</strong> our own mortality;<br />

they're so strikingly similar to our own. It's my understanding<br />

that generally the people who do find the porcelain bones<br />

disturbing wouldn't think twice about admiring a sea shell<br />

and yet they represent exactly the same thing; it just doesn't<br />

resemble us."<br />

As his business advances, Bonasera is confronted with the<br />

same few overriding issues which remain constant in any<br />

creative field or artistic undertaking. "Making money and<br />

keeping integrity. Australia is a sophisticated market but a<br />

small one, and this is an incredibly labour-intensive process.<br />

How do you generate a realistic income without completely<br />

abandoning your beliefs in order to make money)" he asks<br />

rhetorically. "In a much larger market like Europe, J think they<br />

tread the line more comfortably in terms <strong>of</strong> it being easier to<br />

survive within the limitations imposed by this type <strong>of</strong> handmade<br />

manufacturing." Bonasera has chosen not to outsource<br />

his production to regional neighbours like Indonesia and,<br />

with a keen eye to quality control, it remains his priority to be<br />

'Made in Australia'.<br />

Gregory Bonasera studio shot<br />

Photo: Paul Barbera<br />

wwvy.wheretheycreate.com<br />

Opposite page: Gregory Bona5era<br />

Clemence Luminaire. porcelain, stainless<br />

steel, Corian, glass beads; medium, h.40cm,<br />

diam.20cm Photo: courtesy artist<br />

Talking to Bonasera about his dedication to his craft and commitment to exacting standards, the<br />

notion <strong>of</strong> art 'unsullied' by commerce, which seems both irrelevant and counterproductive today, is<br />

touched on. "I'm interested in why we seem to have a question or concern about earning money [in<br />

this fieldl. It implies you're not passionate, your motivation is questioned ... but I adore what I do, and<br />

why can't we as practitioners be commercially savvy as well? " he ponders. "With Porcelain Bear,<br />

that arose because a lot <strong>of</strong> my ideas had nowhere to go; they were being wasted. I didn't want to<br />

confuse my retailers or market, so this is my 'diffusion' line, and why can't a ceramics practitioner have<br />

more than one enterprise?" Why indeed? And it seems abundantly clear that Gregory Bonasera will be<br />

leading by example.<br />

www.bonasera.com.au<br />

Product photography; Adam Cleave, www.adamcleave.com.au<br />

Computer rendering (lighting and 'Segmenta Bowl'); Hayden Martis<br />

www.haydenmartisdesign.com.<br />

<strong>The</strong> evocative studio images are kindly supplied by Paul Barbera, His forthcoming book on<br />

artists and 'creatives' in their workspaces, Where <strong>The</strong>y Create, will be published in September<br />

by Frame Publishers, <strong>The</strong> Netherlands; www.framemag.com/allbooks.<br />

See also www.wheretheycreate,com and www,paulbarbera.com.<br />

Inga Walton is a Melbourne-based writer and arts consultant who contributes to numerous<br />

<strong>Australian</strong> and international publications.<br />


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

Flat Out<br />

1 Oee Taylor-Graham<br />

2 Aleida Pullar<br />

3 Meredith Stewart<br />

4 Denise McDonald<br />

5 Dee Taylor-Graham<br />

6 Kaye Stephens<br />

7 Janetta Kerr-Grant<br />

8 Jann Kesby<br />

9 Ursula Burgoyne<br />

10 Adriana Christianson<br />

t t Angela Walford<br />

12 Jennifer Bult<br />

13 Rhoda Karpin<br />


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

14 Mieke van Sambeeck<br />

15 Lindy R Smith<br />

16 Christopher Plum ridge<br />

17 Kyong Hoe Kim<br />

18 Sue Jones &<br />

David Middlebrook<br />

19 Jill Symes<br />

20 Stewart Scambler<br />

21 Trish Scam bier<br />

22 Lyn Bat.s<br />

23 Judy Pierce<br />

24 Naoko Coghlan<br />

25 Nicky Coady<br />

26 Ingrid Tufts<br />


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

In the Kitchen with<br />

MasterChef Adam Liaw<br />

Janetta Kerr-Grant on celebrating the hand-made<br />

Late last year I was approached by a food stylist who wanted to use my ceramic vessels in the second<br />

MasterChef cookbook, Two Asian Kitchens. She had been working with the MasterChef winner Adam<br />

Liaw who had expressed a strong desire for the tableware to reflect the Japanese aesthetic <strong>of</strong> 'wabisabi',<br />

or 'imperfect beauty', as he felt this would match the spirit <strong>of</strong> his recipes.<br />

Food stylist Lisa La Barbera arrived at my house and I showed her my current, fairly limited number<br />

<strong>of</strong> loose platters, bowls and plates. However, she was keen to see what other pieces <strong>of</strong> my work I<br />

had stashed away in the kitchen cupboards and throughout the house. Small ornamental vessels were<br />

quickly reappraised as being suitable for dipping sauces or rice or pickles. Platters were overturned and<br />

the unglazed base became a textured stand for displaying dishes. Dainty plates were seen as an unusual<br />

foil for the book 's many meat dishes . Several hours later she departed with around seventy items and I<br />

was left with a kitchen devoid <strong>of</strong> tableware.<br />

My family needed plates to eat on so I resorted to resurrecting an old Maxwell W illiams dinner set<br />

that had been retired several years ago. Returning to using perfect white china was strangely deflating.<br />

I have long thought that table settings are akin to daily domestic installations. Setting a table is a<br />

wonderful excuse to create a tableau where pattern contrasts against plain, matt differentiates against<br />

shiny, and texture is set <strong>of</strong>f against smooth. <strong>The</strong> white uniformity <strong>of</strong> my Maxwell Williams tableware<br />

meant that this daily pleasure was rendered somewhat redundant as everything matched and everything<br />

tended to look the same .<br />

In the catalogue for the recent 'Vitrify' ceram ic award, writer and art critic Peter Timms mentions how<br />

most plates and bowls are now designed by a computer and consequently they are cheap, flawless and<br />

easily replaced. However, he too finds such tableware dispiriting: "Sadly though, they are completely<br />

lifeless. <strong>The</strong>y lack heart, that indefinable quality that only the mastery <strong>of</strong> craft skills can impart." But he<br />

also notes that in an age where computers provide instant gratification, " the joy <strong>of</strong> doing has lost out to<br />

the efficiency <strong>of</strong> getting things done" .<br />

I am <strong>of</strong> the belief that there will always be people who delight in vessels, functional or otherwise, that<br />

cause them to pa use and wonder. Lisa returned my work after shooting up to eight dishes a day for<br />

several weeks . She told me that after using mainly hand-crafted ceramics on the shoot, she had been<br />

seduced. She said from now on she too would celebrate the handmade.<br />

Two Asian Kitchens by Adam Liaw was published by Random House Australia in April <strong>2011</strong> .<br />


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

1 Seven Lucky Gods, Jan@tta Kerr-Grant, six gingham<br />

plates (old marble dish in centre <strong>of</strong> image belongs to the<br />

stylist)<br />

2 Pearl Pudding, Jan@tta Kerr-Grant, white and black<br />

gingham plate, 2010, d,am.1 Scm<br />

3 Prawn and Cheese Okonomiyaki, Janetta Kerr-Grant.<br />

green and black gingham plate, 2010, diam.26cm<br />

4 T<strong>of</strong>u and Camembert Skewers, Janetta K@rr-Grant,<br />

green and black gingham plate

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

Tony Bllsan and Sally Gordon in Bilsan's<br />

restaurant in the Radisson Hotel. Sydney<br />

Photo: Greg Piper<br />

On the Table<br />

at Bilson's<br />

Jules Skovgaard gives a short report on how Sally Gordon's celadon<br />

porcelain made it to the table at Bilson's in Sydney.<br />

For as long as she can remember. Sally has enjoyed making things. She studied ceramics at school<br />

and later at the National Art School at East Sydney Technical College. During her school days, Sally was<br />

influenced by Les Blakebrough, who was in charge <strong>of</strong> the pottery and director <strong>of</strong> SlUrt Workshops at<br />

Mittagong. Words from Les remain her benchmark: "A potter's standard is only as high as the worst<br />

piece in his exhibition".<br />

At school Sally learned how to throw functional domestic ware in the times when the Japanese<br />

influence was very strong amongst Western potters, This instilled in her the discipline that 'in order to<br />

achieve one must continually strive'. To this end she works to design and make pieces that look good,<br />

work well, and are comfortable to handle and a pleasure to use.<br />

<strong>The</strong> introduction <strong>of</strong> blue celadon came after Sally saw it used by some modern potters - the beauty<br />

<strong>of</strong> it took her breath away. She has now developed her own style <strong>of</strong> a blue celadon glaze which is<br />

reminiscent <strong>of</strong> the aqua tones in the waters around the Great Barrier Reef.<br />

Last year, on a visit to the central west <strong>of</strong> New South Wales, Tony Bilson called at Sally's strawbale<br />

studio near Millthorpe to see her work. He wanted to introduce a serving plate that would catch the eye<br />

as people walked into his restaurant. On seeing the blue celadon ware he decided this was just the look<br />

he wanted, so Sally created a special range for Bilson's that included ten dozen serving plates. six dozen<br />

small casserole dishes, and two different styles <strong>of</strong> small cups.<br />

Sally says: "After the last delivery I emailed Tony to ask if he was happy with the quality." He replied:<br />

"Love them, Sally; they have lifted the restaurant."<br />

www.bilsons.com.au<br />


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

Above: Sally Gordon, pasta/soup bowl, casserole and dinner plate, 20 11, Southern Ice, wheel-thrown. blue celadon glaze<br />

Below: Sally Gordon, pla tter; egg cup and butter dish , <strong>2011</strong>, Southern Ice, various techniques, blue celadon glaze<br />

Photos: Gr"9 Piper<br />

THE /OURNAl OF AUSTRALIAN CERAMICS /UlY <strong>2011</strong><br />


Focus: Ce ram ics + Utility<br />

Creating Seder Plates<br />

Ede Horton writes about her collaboration with Christopher Plumridge<br />

Glass informs and transforms the Judaica (Jewish ritual objects)<br />

I make. For the past twenty years I have enjoyed the challenge <strong>of</strong><br />

designing and making limited edition Judaica. <strong>The</strong> contemporary<br />

ideas and discipline <strong>of</strong> designing these functional objects reference<br />

specific historical guidelines and a definite code <strong>of</strong> practice. I find this<br />

process extremely stimulating.<br />

A number <strong>of</strong> my Judaica pieces require components made<br />

from different materials. Craft Victoria has <strong>of</strong>ten been my starting<br />

point to help me find artistic collaborators. Recently I approached<br />

several makers to see if they were interested in working with me<br />

collaboratively. To my delight ceramicist Chris Plumridge was prepared<br />

not only to discuss my ideas, but also help me to understand the<br />

complexities and limitations <strong>of</strong> certain materials I wanted to use.<br />

Once I was able to integrate this understanding into my design<br />

concept and work out the practical implications, we established a<br />

business arrangement and the final objects quickly evolved from the<br />

early prototypes.<br />

Working with another artist always requires respect, trust and<br />

understanding. Chris Plum ridge is a master potter <strong>of</strong> exceptional<br />

talent, knowledge and skill and I respect him enormously. We<br />

documented all our discussions and costs via email to prevent any<br />

miscommunication. As well, the project period recognised other<br />

commitments: working towards exhibitions, teaching periods and<br />

firing schedules, for example. We discussed the similarities between<br />

the two media as well as their marketing aspects. It was always<br />

exciting to visit Chris's studio and see the next stage <strong>of</strong> development.<br />

I have always wanted to make a Seder plate for Passover, one<br />

which sits comfortably on a cluttered, food-laden table - a simple<br />

plate that could capture not only the religious order <strong>of</strong> service, but<br />

also the different symbols that represent our story <strong>of</strong> freedom.<br />

As a designer and maker <strong>of</strong> religiOUS objects, it is a privilege to know<br />

that my work travels and is used in Jewish ceremonies worldwide.<br />

Above: Seder pla te with ritual foods<br />

Below: Seder plate with Hebrew<br />

lettering, h.2cm. w.30.5cm, d.20cm<br />

Photos: courtesy artists<br />

<strong>No</strong>te: <strong>The</strong> Passover Seder Plate is a special plate containing symbolic foods eaten<br />

or displayed at the Passover Seder, a ritualised dinner observed during Passover.<br />

Ede Horton is an artist who lives in Melbourne.<br />

Christopher Plumridge: http://home.vicnet.net.au/- cplum/<br />


Promot ion<br />

Contemporary <strong>Ceramics</strong> at<br />

Hazelhurst<br />

Claudia Citton, Read Between the Lines, 2010, stonevvare. clear glaze. h.2 1.Scm, w.l 1cm. d.3cm; photo: Keith Arnold<br />

Through a joint in itiative by Sutherland TAFE College, Gymea Campus, and Sydney College <strong>of</strong> the<br />

Arts (SCA), Hazelhurst Regional Gallery & Arts Centre w ill present the works <strong>of</strong> highly pr<strong>of</strong>icient artists<br />

including lecturers from SCA and teachers and recently established graduates from Sutherland TAFE<br />

College. In Clay and An Unnatural History <strong>of</strong> Nature will be on display at Hazelhurst Regional Gallery<br />

from 20 August to 9 October <strong>2011</strong>.<br />

In Clay<br />

As one <strong>of</strong> the largest Sydney-based centres for ceramic practitioners, the <strong>Ceramics</strong> Design Studio<br />

at Sutherland TAFE College, Gymea campus, has for the past 45 years trained ceramic artists and<br />

designers who have gone on to become nationally and internationally recognised for their skill, creativity<br />

and innovation. In Clay highlights the significance <strong>of</strong> ceramics within the cultural landscape <strong>of</strong> the<br />

Sutherland Shire, and the diversity and evolution <strong>of</strong> <strong>Australian</strong> contemporary ceramic practice.<br />

<strong>The</strong> practitioners selected for the exhibition demonstrate different career paths within the ceramic<br />

industry; they are amongst the most successful artists, designers, teachers and academics working within<br />

Australia. Many have won significant awards, some have exhibited and worked in studios in China, USA,<br />

Japan and Europe, and a number <strong>of</strong> their works are held in significant public and private collections<br />

around the world.<br />

THE JOURNAL OF AUSTRAliAN CERAMICS JULY <strong>2011</strong> 53

Promotion<br />

lynda Draper, Caravan, 2010, hand·built<br />

porcellaneous stoneware. multiple glaze<br />

firings. h.15cm, w.19cm, d.1 2cm<br />

Photo: courtesy artist<br />

Among the exhibiting artists is Claudia Citton, a practising ceramic artist and teacher, who has been<br />

involved in ceramics for twelve years. Her work Read Between the Lines attempts to interpret her view<br />

<strong>of</strong> a fragmented and fractured world where humanity and nature are not unified. Claudia is particularly<br />

interested in exploring the trajectories between mortality and immortality, creation and destruction.<br />

Lynda Draper, a teacher at Gymea TAFE Ceramic Design Studio, Sydney Institute for over twenty years,<br />

has an interest in domestic souvenirs and their psychological associations. Home Altar evolved in reply<br />

to the evocative nature <strong>of</strong> a group <strong>of</strong> souvenirs collected from her childhood home prior to its sale<br />

and demolition. <strong>The</strong> artefacts re-emerged in to her life as extraordinary, familiar yet strange, ghost-like<br />

memories from the past, triggering an overwhelming nostalgia that creeps into feel ings <strong>of</strong> unease.<br />

Aedan Harris, also from Ceramic Design Studio, has always had a fascination w ith nature and the<br />

extraordinary capabilities <strong>of</strong> animal and plant life. In his work Silent Rhythms he attempts to echo the<br />

workings <strong>of</strong> the natural world - the process <strong>of</strong> evolution and adaptation, growth and decay, diversity<br />

and order, mystique and power. All these elements are part <strong>of</strong> a constant cycle, a rhythm <strong>of</strong> life, each<br />

one with intent and purpose. Finish ing each piece in red and black expresses the essential components<br />

<strong>of</strong> living organisms --

Promotion<br />

Adam Geczy and Jan Guy, Fired Turkey Bones (detail)<br />

2010, inkjet on fine art paper<br />

Right:<br />

Adam Geczy and Jan Guy, Ceramic Surgery, 2009<br />

ceramics. wood, glass and video<br />

An Unnatural History <strong>of</strong> Nature<br />

<strong>The</strong> gallery will also feature the work <strong>of</strong> Adam Geczy and Jan Guy from Sydney College <strong>of</strong> the Arts in<br />

the exhibition An Unnatural History <strong>of</strong> Nature. This installation explores museology, the construction<br />

<strong>of</strong> nature, bioengineering and the agonistic human relationship between nature and mediation. At the<br />

core <strong>of</strong> this exhibition is the Ceramic Surgery suite, exotic birds made <strong>of</strong> bone china. <strong>The</strong> bones, from<br />

which the ceramic work is made, have been obtained from the familiar, prosaic birds that we eat: turkey,<br />

chicken, quail. <strong>The</strong>se works speak <strong>of</strong> a transformation that can be traced from the Tales <strong>of</strong> Ovid to<br />

Shelley's Frankenstein: tales <strong>of</strong> the alteration <strong>of</strong> nature, a wager between humans and nature in which<br />

human hubris usually gets more than it bargained for. <strong>The</strong>se generic birds have metamorphosed into<br />

ones <strong>of</strong> beauty, but at the price <strong>of</strong> their stasis: they sit entombed within glass domes. <strong>The</strong> stands and<br />

vitrine have been purpose-built: their style is a vaguely Art <strong>No</strong>uveau, extracted from an era <strong>of</strong> 'art-forart's<br />

sake' and decadence, in which the synthetic took precedence over the natural. Other components<br />

<strong>of</strong> this work are photography, video and drawing. <strong>The</strong> works <strong>of</strong>fer an image <strong>of</strong> unfettered nature<br />

but, crucially, they are intangible and transient, a foil to the inscrutable yet lovely deadness <strong>of</strong> their<br />

counterparts made <strong>of</strong> bone china.<br />

<strong>The</strong> exhibitions can be viewed daily from lOam to 5pm at Hazelhurst Regional Gallery.<br />

In Clay and An Unnatural History <strong>of</strong> Nature<br />

20 August - 9 October <strong>2011</strong><br />

Hazelhurst Regional Gallery, 782 Kingsway, Gymea N5W 2227<br />

T: 02 8536 5700 E: hazelhurst@ssc.nsw.gov.au<br />

www.hazelhurst.com.au<br />


_ I Communities<br />

:.:.;;:.:.:,. arts nsw<br />

Hazelhurst<br />

__ UIWI'f I MIl COITIIE<br />

A facility <strong>of</strong> Sutherland Shire Council<br />

Sutherland Shire t13\<br />


National Education Pictorial Survey<br />

National Education<br />

Pictorial Survey <strong>2011</strong><br />

<strong>No</strong>te" Due to a lack <strong>of</strong> space,<br />

full captlonmg <strong>of</strong> images IS not<br />

pOSSible. Please contact the<br />

editor If you would like more<br />

Information on any Image<br />

featured in thl!t survey.<br />

<strong>Australian</strong> National University<br />

School <strong>of</strong> Art<br />

T: 02 6125 5824<br />

http://soa.anu.edu.au<br />

1 Erin Kojai<br />

2 Cathy Franzi<br />

3 Michelle Lim<br />

4 Elaine Bradley<br />

5 Lucas Boswell<br />

s<br />


National Education Pictorial Survey<br />

Barrier Reef Institute <strong>of</strong> TAFE. Townsville<br />

T: 0747<strong>50</strong>5211<br />

www.barrierreel.tale.qld.gov.au<br />

1 Yang ok Lee<br />

2 Janine Jumeau<br />

Photos: Jenny Mulcahy<br />

Brisbane <strong>No</strong>rth Institute <strong>of</strong> TAFE. Ithaca<br />

T: 07 3259 3067<br />

www.bn.tale .qld.gov.au<br />

,<br />

1 Christine Burgess<br />

2 Tracey Lanesbury<br />

3 Katrina Woodland<br />

3<br />


National Education Pictorial Survey<br />

Chisholm Institute <strong>of</strong> TAFE<br />

Dandenong<br />

T: 03 9212 5398<br />

www.chisholm.vic.edu.au<br />

1 Carmen Grostal<br />

2 Kate Stuart<br />

3<br />

Holmesglen Institute <strong>of</strong><br />

TAFE, Chad stone<br />

T: 03 9564 1578<br />

www.holmesglen.vic.edu .au<br />

1 Helen Plesar<br />

2 Ulrica Trulsson<br />

3 Lisa Blanco<br />

2<br />

Hunter Institute <strong>of</strong> TAFE<br />

Newcastle Art School<br />

T: 02 4929 0378<br />

www.hunter.tafensw.edu.au<br />

1 Brenda Durie<br />

2 Frank Oakes<br />

Photos: Sue Stewart<br />



National Education Pictorial Survey<br />

1 Alicia Connolly<br />

2 Anneke Paijmans<br />

lIIawarra Institute <strong>of</strong> TAFE. Bega<br />

T: 02 6492 9700<br />

www.illawarra.tafenswedu.au<br />

1 Marg Baker<br />

2 Maree Anderson<br />

3 Tracey Mitchell<br />

4 Julie Penn ington<br />

IIlawarra Institute <strong>of</strong> TAFE<br />

Moss Vale<br />

T: 02 48680158<br />

www.illawarra.tafensw.edu.au<br />

La Trobe University. Bendigo<br />

T: 03 5444 7217<br />

www.latrobe.edu.aulvisualarts<br />

1 Murray Ross<br />

2 Janae Evans<br />

Photos: Ian Hill<br />


National Education Pictorial Survey<br />

Mount Barker<br />

TAFE SA<br />

T: 08 8391 7333<br />

www.tafesa.edu.au<br />

1 Joy Mayberry<br />

2 Graham Boothby<br />

Photos: Merrilyn Stock<br />

4<br />

National Art School, Sydney<br />

T: 02 9339 8631<br />

www.nas.edu.au<br />

1 Alexandra Standen<br />

2 Ben Milne<br />

3 Nathan Turvey<br />

4 Joey Taouk<br />


National Education pictorial Survey<br />

<strong>No</strong>rth Coast Institute <strong>of</strong> TAFE<br />

C<strong>of</strong>ts Harbour<br />

T: 02 6659 3208<br />

www.northcoast.tafensw.edu.au<br />

1 Parma Keft<br />

2 Emma Nicholson<br />

<strong>No</strong>rthern Sydney Institute <strong>of</strong> TAFE<br />

Brookvale<br />

T: 02 99415211<br />

www.nsi.tafensw.edu.au<br />

1 Maxine Field<br />

2 Karen Niblock Steward<br />

3 Helen Gates<br />

4 Ray Jackson<br />

5 Jing Ding<br />

6 John Curnoe<br />

Photos: Stephen Cummings<br />


National Education Pictorial Survey<br />

<strong>No</strong>rth Coast Institute <strong>of</strong> TAFE<br />

lismore<br />

T: 02 6623 0200<br />

wwvv.northcoast. tafensw.edu.au<br />

1 Debra Gower<br />

2 Tali Cohen-Flantz<br />

<strong>No</strong>rthern Sydney Institute <strong>of</strong> TAFE<br />

Hornsby<br />

T: 02 9472 1208<br />

wwvv. nsi. tafensw.edu.au<br />

1 Jae Eddison<br />

2 Marg Whyntie<br />

3 Jann Craw<br />

4 Izette Felthum<br />

5 Sandy Marker<br />


National Education Pictorial Survey<br />

RMIT University, Melbourne<br />

T: 03 9925 3865<br />

www.rmit.edu.aulart<br />

1 Erin Murray<br />

2 Val issa Butterworth<br />

3 Mojan Habibi<br />

4 Qiajian He<br />

5 Andrei David<strong>of</strong>f<br />

6 Robyn Hosking<br />


National Education Pictorial Survey<br />

Sunshine Coast Institute <strong>of</strong> TAFE. <strong>No</strong>osa<br />

T: 07 5459 3000<br />

www.sunshinecoast.tafe.qld.gov.au<br />

1 Glenda Stasse<br />

2 Mary Bulloch<br />

3 Sophy Blake<br />

Sydney Institute <strong>of</strong> TAFE. Gymea<br />

Ceramic Design Studio<br />

T: 02 9710 <strong>50</strong>48<br />

www.sit.nsw.edu .aulceramicslgymea<br />

1 Lisa Johnson<br />

2 laura Gant<br />

3 Peter Berris<br />

4 Ursula Burgoyne<br />

THE IOURNAl OF AUSTRALIAN CERAMICS JULY <strong>2011</strong><br />


National Education Pictorial Survey<br />

University <strong>of</strong> Ballarat<br />

Arts Academy<br />

T: 03 5327 8245<br />

www.ballarat.edu.au<br />

1 Rachael Negri<br />

2 Caitlin Lowe<br />

Photos: Tim Allan<br />

University <strong>of</strong> Newcastle<br />

T: 02 4921 <strong>50</strong>00<br />

www.newcastle.edu.au<br />

1 Sharon Taylor<br />

2 Robyn Bell<br />

Photos: Sharon Taylor<br />

University <strong>of</strong> NSW, Paddington<br />

College <strong>of</strong> Fine Arts<br />

T: 02 9385 0684<br />

www.c<strong>of</strong>a.unsw.edu.au<br />

1 Niccola Phillips<br />

2 Hayden Youlley<br />

3 Ashley McHutchison<br />

3<br />


National Education Pictorial Survey<br />

University <strong>of</strong> South Australia<br />

South <strong>Australian</strong> School <strong>of</strong> Art<br />

T: 08 8302 9192<br />

www.unisa.edu.au<br />

1 Anh Thu Pham<br />

2 Sally Gibson-Dore<br />

3 Ayaka Sumita<br />

University <strong>of</strong> Southern Queensland<br />

T: 07 4631 1127<br />

www.usq.edu.au<br />

1 Melissa Duffy<br />

2 (ass Edney<br />

3 Daniel Qualischefski<br />

J<br />

J<br />

v<br />

2<br />

3<br />


National Education Pictoria l Survey<br />

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

Sydney College <strong>of</strong> the Arts<br />

T: 02 9351 1046<br />

www.usyd.edu.au/sca<br />

1 Jan Howlin<br />

2 Areeya Saeloy<br />

3 Trevor Fry<br />

4 Mitchell Svenson<br />

5 Tracey Tazewell<br />

6 Penny Philpott<br />

7 Eleni Antoniou<br />

8 Trang Nguyen<br />

4<br />

5<br />

6<br />


National Education Pictorial Survey<br />

Western Institute <strong>of</strong> TAFE, Mudgee<br />

T: 02 6378 2646<br />

www.wit.tafensw.edu.au/campuses/mudgee<br />

1 Rosalie Swords<br />

2 Belle Brooks<br />

Western Sydney Institute <strong>of</strong> TAFE, Nepean<br />

T: 02 92089338<br />

http://wsi.tafensw.edu .au<br />

1 Katherine Kennedy<br />

3 Robert Musgrave<br />

2 Helen Jenner 4 Nathaniel M ickhaiel<br />

2<br />

3 4<br />


ACT 2012<br />

<strong>Australian</strong> <strong>Ceramics</strong> Triennale<br />

2012<br />

On behalf <strong>of</strong> Craftsouth and the South <strong>Australian</strong><br />

ceramics community, I am pleased to introduce the<br />

2012 <strong>Australian</strong> <strong>Ceramics</strong> Triennale and invite you to<br />

join us in Adelaide from<br />

28 September to 1 October 2012<br />

South Australia will host the 13th <strong>Australian</strong> <strong>Ceramics</strong><br />

Triennale and we are proud to present an exciting<br />

program that will bring together leading national<br />

and international ceramics practitioners, educators,<br />

collectors, critics and cultural theorists in celebrating<br />

diversity, plus social and cultural approaches to this field.<br />

Peter Johnson in his studio<br />

<strong>The</strong> theme for the conference is Subversive Clay and over four days we will explore clay as a<br />

medium capable <strong>of</strong> challenging artistic, social and cultural issues through investigating past traditions<br />

and invigorating future experimentation. Representing excellence in contemporary clay practice from<br />

around the world, the conference will consider how ceramic artists contest traditional approaches to clay<br />

as a medium and as an important art form, and thus its role in society.<br />

Supported by peak South <strong>Australian</strong> arts and tertiary education organisations, including JamFactory<br />

Contemporary Craft and Design, University <strong>of</strong> South Australia School <strong>of</strong> Art and Architecture and<br />

Adelaide College <strong>of</strong> the Arts, the Triennale will feature national and international speakers, exhibitions,<br />

<strong>Australian</strong> <strong>Ceramics</strong> Triennale 2012<br />

Call for papers and workshops<br />


Adelaide, Australia<br />

28 September-1 October 2012<br />

<strong>The</strong> 13th <strong>Australian</strong> <strong>Ceramics</strong> Triennale is a major ceramics event presenting four days <strong>of</strong> discussions,<br />

debates and opportunities to exchange ideas for both local and international ceramic artists, educators,<br />

collectors, critics and theorists.<br />

We are seeking papers and workshops that explore clay as a subversive medium capable <strong>of</strong><br />

challenging artistic, cultural and social norms.<br />


ACT 2 012<br />

www.australianceramicstriennale.com<br />

master classes and workshop programs together with a focus on Indigenous <strong>Australian</strong> ceramics.<br />

<strong>The</strong> 2012 <strong>Australian</strong> <strong>Ceramics</strong> Triennale will provide an ideal opportunity for the entire ceramics<br />

community to introduce, discuss, debate and exchange ideas.<br />

<strong>The</strong> conference will be held in the West End <strong>of</strong> Adelaide, a vibrant and exciting arts precinct within<br />

easy walking distance <strong>of</strong> the city.<br />

Please register your personal interest (by 30 September) in the presentation <strong>of</strong> papers and<br />

workshops relevant to the conference theme by email to:subversiveclay@craftsouth.org.au<br />

Areas <strong>of</strong> particular interest include:<br />

• Art and craft traditions and their interaction with contemporary practice<br />

• Industrial processes and alternative teChnologies<br />

• Hybrid practices and the development <strong>of</strong> mixed media<br />

• Indigenous ceramics practice<br />

• Critical writing and documentation<br />

• Exhibition practices, public and private<br />

Many thanks to our sponsors and <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong> for their support <strong>of</strong> the<br />

conference.<br />

Looking forward to seeing you in Adelaide,<br />

Peter Johnson, Chair Steering Committee<br />

To register interest and receive information regarding the presentation <strong>of</strong> papers and/or workshops,<br />

please contact Craftsouth.<br />

E: subversiveclay@craftsouth.org.au; T: 08 8410 1822<br />

Abstracts (for papers and workshops) are due by 30 September <strong>2011</strong> .<br />

University <strong>of</strong><br />

South Australia<br />

®<br />

.=.tafeSA<br />

Jam<br />

Factory<br />

o UTH<br />

5 ... 5 ~<br />

To take the opportunity to sponsor this nationally and internationally significant ceramics event<br />

please contact Craftsouth by email. subversiveciay@craftsouth.org.au. or phone 08 8410 1822.

Sandy Lockwood<br />

Fifty <strong>Australian</strong> Stories at<br />

the Edge <strong>of</strong> the World<br />

Paul Campbell-Allen poses a question<br />

It is not <strong>of</strong>ten one can enter a room with examples <strong>of</strong> work from over fifty <strong>of</strong> the upper echelon<br />

<strong>of</strong> Australia's wood-firing ceramic artists. Openings are really only an opportunity to taste and it is<br />

impossible to appreciate the full depth <strong>of</strong> expression when balancing a glass <strong>of</strong> wine and engaged in<br />

conversation. Gems tend to be overlooked. One thing that came across clearly is that ceramic artists<br />

are, on the whole, hopeless at writing about their own work. Artist's statements ranged from the<br />

wildly metaphysical to bland technical descriptions <strong>of</strong> firing cycles - both pretty well unintelligible. I am<br />

reminded <strong>of</strong> Elvis Costello's remark that 'writing about music is like dancing about architecture.' <strong>The</strong><br />

same could be said <strong>of</strong> writing about ceramics.<br />

Nevertheless, as an outsider, I am going to attempt a few <strong>of</strong>f-the-cuff observations, not about the<br />

techniques, about which I know only a little, but about the impact <strong>of</strong> the works as they presented.<br />

<strong>The</strong> first issue I have is one <strong>of</strong> scale and context. After spending the previous day at the MONA, I<br />

cannot be surprised by big. <strong>The</strong> trouble with big, particularly in a fairly confined space, is that it just<br />

hits you in the face then becomes part <strong>of</strong> the background. If Robert Barron's anything-but-s<strong>of</strong>t, cooked<br />

pillow or Graeme Wilkie's box monoliths were placed in an open field, or, conversely, in a very small<br />

room, the impact would be radically different. <strong>No</strong> doubt they are limited by kiln size, but in my view<br />

none <strong>of</strong> the large pieces were anywhere big enough to be convincing and ended up falling between<br />

two stools.<br />


View<br />

3 Kirk. WInter<br />

4 GYllYn Hanssen Pigott<br />

<strong>The</strong> second issue was the lack <strong>of</strong> humour and its close relation, sex appeal. With one or two<br />

exceptions, most <strong>of</strong> the work seemed to be taking itself extremely seriously. Peter Thompson's crazily<br />

esoteric Nipponese/Murri coastal deities (a piece which I renamed in my mind <strong>The</strong> Hunt for Moby<br />

Dick in a Red October) and Kirk Winter's Empress' New Phone were perhaps the only pieces that<br />

attempted irony. As far as sex appeal is concerned, very few <strong>of</strong> the pieces had that visceral effect <strong>of</strong><br />

'I must have this work'. Unfortunately, one <strong>of</strong> the <strong>Australian</strong> wood-firing ceramic artists capable <strong>of</strong><br />

generating that effect by the exquisite integration <strong>of</strong> form and surface was not represented.<br />

<strong>The</strong> third issue was the lack <strong>of</strong> real variety. Sure there were lots <strong>of</strong> statements about chance, but<br />

the overall palette was predictable and within a fairly limited range. It was surprising that some <strong>of</strong> the<br />

more flamboyant aspects <strong>of</strong> wood-firing were under represented. Grey to tan, with the occasional<br />

green, seemed to be the prevalent palette. Likewise, the forms were on the whole conservative, more<br />

akin to classical architecture than out <strong>of</strong> the box Gehry. I think this is more about finessing and refining<br />

than strong visual challenge. <strong>The</strong> few attempts at breaking out, such as Neil H<strong>of</strong>fman's piece, were<br />

simply too constrained. <strong>The</strong> real problem with the finessing approach is the tendency towards sterility.<br />

<strong>The</strong> retirement village aesthetic - serene, contemplative and static - is exemplified in the timeless<br />

mantelpiece vessels <strong>of</strong> Gwyn Hanssen Pigott. Others are following suit.<br />

So, if you had to name your top five pieces what would they be?<br />


Owen Rye Steve Williams Malina Monks<br />

For what it is worth these are mine:<br />

*Steve Williams' robust and gutsy piece positioned near to, but by no means overshadowed by, the<br />

immediately recognisable works <strong>of</strong> Janet Mansfield, Chester Nealie and Owen Rye - sounds a bit like a<br />

triumvirate does it not?<br />

*Sandy Lockwood's wonderfully understated, subtle and joyous surface to a simple open form<br />

*Owen Rye's search for the unobtainable perfect form with an extremely seductive surface - is there a<br />

parable here?<br />

*Len Cook's corroded barbed w ire handle on an exquisite teapot - a potential new symbol for<br />

Amnesty International<br />

* Malina Monk's skewed woven cross - I was totally caught unawares by it on leaving the room.<br />

*<strong>The</strong>re is another piece that I also greatly admire, but to avoid being accused <strong>of</strong> undue bias I cannot<br />

mention the maker.<br />

What to make <strong>of</strong> the whole? <strong>The</strong>re is no doubting the technical competency <strong>of</strong> the makers, nor their<br />

commitment to refinement <strong>of</strong> their aesthetic. Overall though, it felt a little 'closed shop', a tad insular<br />

and self-congratulatory, caught in a sort <strong>of</strong> self-absorbed time warp. Yet in our brave new world <strong>of</strong><br />

flickering, rapidly changing visual stimuli, still pieces w ith finely refined form and surface are a sort <strong>of</strong><br />

anchor - an assurance that there is value in the simple and well crafted. I will continue to surround<br />

myself with these objects but wonder, despite Torbj0rn's optimism, if the small band <strong>of</strong> wood-firing<br />

believers has reached the edge <strong>of</strong> their world.<br />

Inside Woodfire - Fifty <strong>Australian</strong> Stories<br />

Curator: Ben Richardson<br />

Gallery 9, Deloraine; 28 April - 1 May <strong>2011</strong><br />

Exhibitors: Ana Maria Hernandez Jensen, Andrew Bryant, Arthur Rosser, Barbara Campbell-Allen, Ben<br />

Richardson , Bill Brownhill, Bruce McWhinney, Carol Rosser, Cath O'Gorman, Cher Shackleton, Chester<br />

Nealie, Daniel Lafferty, Don Court, Ge<strong>of</strong>f Crispin, Ge<strong>of</strong>f Thomas, Graeme Wilkie, Grant Hodges, Greg<br />

Crowe, Gwyn Hanssen-Pigott, Ian Hodgson, Ian Jones, Isaac Patmore, Jann Kesby, Janet Mansfield, Judy<br />

Boydell, Kaye Stephens, Kirk Winter, Kwi Rak Choung, Len Cook, Lisa Edwards, Malcolm Greenwood,<br />

Malina Monks, Michael Stephan, Moraig McKenna, Neil H<strong>of</strong>fmann, Owen Rye, Paul Davis, Peter<br />

Thompson, Peter Pilven, Peter Rushforth, Ray Cavill, Robert Barron, Roswitha Wulff, Sandy Lockwood,<br />

Sergei Shatrov, Steve Harrison, Steve W illiams, Stewart Scambler, Su Hanna, Sue Acheson, Suzie<br />

McMeekin, Tim Holmes, Ursula Burgoyne and Yuri W iedenh<strong>of</strong>er.<br />


Process + Meaning<br />

Mark Making<br />

Sarah O'Sullivan takes a look at an upcoming ceramic masters exhibition<br />

<strong>The</strong> artist mark is as individual and identifiable as ones signature and a direct link to the artist's hand.<br />

<strong>The</strong>se marks can take many forms, from a piercing slice to a brush stroke or scratch.<br />

Mark-making is a drawing term, defined as a visible trace or impression on a surface, such as a line,<br />

spot or dent Markings on vessel forms pre-date markings on paper, and there have always been surface<br />

marks or embellishments on ceramic objects, whether from the process <strong>of</strong> making or from intended<br />

surface decoration.<br />

<strong>The</strong> diversity <strong>of</strong> ceramic processes is so broad that the maker'S mark can be something that develops<br />

during the creation <strong>of</strong> the form, through intuitive processes like hand-building or wheel-throwing, or<br />

from a more controlled process like slip-casting that can allow an artist to plan and prepare the form.<br />

All artists strive for an imagined outcome. Artists master processes over the course <strong>of</strong> their career,<br />

allowing them control over the outcome. But at what point does the idea <strong>of</strong> subconscious meandering<br />

come into play, whereby the artist is not driven by intellectual thoughts <strong>of</strong> manipulation but by the<br />

material and happy accidents?<br />

This exhibition brings together nine artists who work using a diverse range <strong>of</strong> techniques which reflect<br />

the underlying essence <strong>of</strong> the 'artist mark', that which is in some way linked to the subconscious, or the<br />

artist's aesthetic compulsions. This exhibition explores ceramic mark-making - the lines, impressions and<br />

patterns used on three dimensional forms.<br />

Sandra Black's signature mark is that made by piercing, in which she removes material from the<br />

surface and structure <strong>of</strong> the forms. This works well on her simple forms, not only enhancing the<br />

quality <strong>of</strong> the material by enabling the transmission <strong>of</strong> light, but also exemplifying the notion <strong>of</strong> a three<br />

dimensional drawing; the audience can simultaneously view the marks on both the exterior and the<br />

Sandra Black, Curved<br />

Vines Vessel, 2009<br />

thrown Southern Ice<br />

porcelain, h.20cm<br />

Photo: courtesy artist<br />



Process + Meaning<br />

Far left:<br />

Pippin Drysdale<br />

Burn t Blaze Ridge, <strong>2011</strong><br />

porcelain, incised with<br />

coloured glazes; h.31cm<br />

Photo: Sue Warrington<br />

left:<br />

louise B05cacci, Pilgrim 2<br />

(below my flightless feet)<br />

2010, translucent porcelain<br />

vitreous inlay, glaze, h.20cm<br />

Photo: Greg Piper<br />

interior. Sandra Black's forms are enhanced by intricate, yet sometimes strong, shadows, echoing her<br />

concept that the <strong>Australian</strong> environment is extreme, piercing and harsh, yet fragile. Black finds markmaking<br />

an intuitive response to a blank surface. She works with simple porcelain forms, thrown or<br />

slip-cast from a single piece drop mould, into which she carves and/or drills marks when the pieces are<br />

leather hard.<br />

I am consistently drawn back to these techniques for their precision, focus, and meditative qualit ies in<br />

the making <strong>of</strong> marks on and through the surface.<br />

In contrast to this process <strong>of</strong> removing material to create a mark, artist Pippin Drysdale builds up<br />

layers on the surface <strong>of</strong> her work. She then intricately incises with fine 'trace' lines, using a complicated<br />

process <strong>of</strong> layering liquitex, pigment and glaze, a technique which has taken years <strong>of</strong> experimenting<br />

and patience to perfect. As only a small patch <strong>of</strong> surface can be worked on at one time, a single pot<br />

can take several days to prepare and paint. Drysdale's marks record the horizon line, giving the surface<br />

a sense <strong>of</strong> infinite space as if looking out over the vast expanse <strong>of</strong> the desert. <strong>The</strong>se incised lines follow<br />

the natural contours <strong>of</strong> the vessel, linking together the concept, the form and the mark-making.<br />

Bronvvyn Kemp's inlaid porcelain pieces record natural phenomena, such as the patterns <strong>of</strong> wind and<br />

heat waves in the distance. As she explains:<br />

Drawing or marking the surface is an integrated conceptual aspect <strong>of</strong> my work, ra rely separate or an<br />

Bronwyn Kemp, Slowly S<strong>of</strong>tly, 2009, Southern Ice, inlaid black slip; h.15cms, w.46cms, d. 13cms; photo: Jasper Odgers<br />


Mitsuo Shoji, Bottle, 20 II<br />

porcelain colour inlay, h.3Scm<br />

Photo: ChrIStine Shoji<br />

afterthought. I <strong>of</strong>ten think <strong>of</strong> recent objects as drawings. Often it's the drawn surface (or the cutting<br />

and scaping) that drives the whole work.<br />

Artist Louise Boscacci has been progressively exploring ceramic inlays for aesthetic and conceptual<br />

purposes, seeing this as a material metaphor within her work - an inlaid vessel will carry 'inlaid' or<br />

embodied experiences, ideas and sensory recall. <strong>The</strong> process <strong>of</strong> inlay involves a hand-drawn sgraffito line<br />

being filled with a ceramic material such as coloured slip. <strong>The</strong> drawn lines allow fast fluid and rhythmic<br />

bodily responses, whilst the actual inlay technique that follows is a more meditative, time consuming<br />

and exacting process. Boscacci states:<br />

Marking is an extension <strong>of</strong> the making in plastic or fluid clay ... the continuation and completion <strong>of</strong><br />

thinking or intuitive response.<br />

Mitsuo Shoji also works with the inlay process in his practice. For him it is a demonstration <strong>of</strong><br />

the beautiful contradiction between the quick gestural strokes <strong>of</strong> the tool marks, and the quiet<br />

contemplative process <strong>of</strong> scraping back the excess slip that follows.<br />

This time-consuming laborious process is meditative. J listen to Buddhist chants whilst J work so the<br />

Zen world enters my mind and manifests itself in my work, <strong>of</strong>ten sub-consciously.<br />

Shoji's work, like himself, sits somewhere culturally between Japan and Australia, just as Janet DeBoos<br />

combines cultures in the decoration <strong>of</strong> her work. Janet creates her work ...<br />

.. . in a slightly haphazard way - and [the works] speak <strong>of</strong> the place [that] I find myself, [which is]<br />

somewhere between Australia and China.<br />

For many years, Janet DeBoos' work displayed only the throwing lines and marks derived from the act<br />

<strong>of</strong> making on the potter's wheel. Like Kemp, De Boos finds that "most <strong>of</strong> the time it is driven by process<br />

rather than any real sense <strong>of</strong> planned design". More recently, DeBoos has been exploring <strong>Australian</strong><br />


Process + Mean ing<br />

Left: Janet DeBoos, Garniture Series, 2010. porcelain<br />

decals glazed, h.2Scm; photo: ANU photography<br />

Above: Gerry Wedd. Poppy Plate, <strong>2011</strong>, porcelain, glazed<br />

w35cm; photo: courtesy artist<br />

flora, dividing the surface <strong>of</strong> her vessels into sections, then applying stylised drawings <strong>of</strong> <strong>Australian</strong> flora<br />

using the sgraffito technique,.<br />

I have the decorative motifs cross borders in the same way that I consider my practice crosses borders.<br />

Alison (Milyika) Carroll and Carol (Anilyuru) Williams <strong>of</strong> Ernabella Arts use surface marks to tell their<br />

stories, in a similar manner to 'milpatjunanyi' - the Anangu practice <strong>of</strong> telling stories in the sand .<br />

Founded in 1948, Ernabella Arts is Australia's oldest Indigenous art centre. <strong>The</strong> women use the lost wax<br />

technique derived from earlier batik work on fabric. Initially they continued the decoration and patterns<br />

they would have done on silk, but, as manager Ruth McMillan explains:<br />

... the work has developed; it is changing from decorative work, in the manner <strong>of</strong> the batik, to work<br />

which tells 'tjukurrpa' (law, story).<br />

Carol (Anilyuru) Williams concentrates on ceramics as a medium, dividing her time between the art<br />

centre and being an Anangu worker at the Ernabella Anangu School. Her main story is Piltati, a water<br />

snake story. Alison (Milyika) Carroll has a multi-disciplinary practice working with ceramics, paint, batik<br />

and tjanpi (basket weaving). Milyika's tjukurrpa (story) is Minyma Kutjara, a story about two women<br />

travelling. McMillan says:<br />

As we are in the desert, it is no good doing ceramics here all year - things dry too quickly over<br />

summer so we work according to the seasons.<br />

Gerry Wedd uses marks to tell stories from documenting local surfing legends, objecting to current<br />

political issues, to studies on social phenomena :<br />

I feel like interesting work comes from an instinctive urge tempered by a little conceptual rigour.<br />


Process + Meaning<br />

Alison (Milyika ) Carroll. M inyma Kutjara. <strong>2011</strong><br />

terracotta form, terra siglliata, slips and sgraHito, h.7Ocm<br />

Photo: ANU photography<br />

Carol (Anilyuru) Willia ms. Piltati #3.<strong>2011</strong><br />

terracotta form, terra sigillata, slips and sgraffno h.745cm<br />

Photo: ANU photography<br />

Predominately blue and white, and largely based on historical narrative models such as the Willow<br />

Pattern, Wedd 's work <strong>of</strong>ten employs cobalt brush work or alternatively, the sgraffito technique to tell<br />

these stories. Wedd describes the process as "both effective in terms <strong>of</strong> graphic outcome and enjoyable<br />

on a sensual level".<br />

Each <strong>of</strong> these artists has their own interpretation <strong>of</strong> what mark-making means to them, and how to<br />

manipulate each gesture within their own ceramic technique, whether it's as simple as a brush mark<br />

made on a pot in an intuitive sense, or as complicated as a sgraffito pattern or commentary on social<br />

and cultural issues. As humans, we live to express, and the measure <strong>of</strong> a mark on a three-dimensional<br />

surface can never be rendered insignificant. <strong>The</strong>se nine talented ceramic artists will attest to that.<br />

Sarah O'Sullivan is a practising artist from Sydney. She is currently completing her Masters<br />

<strong>of</strong> Fine Art (<strong>Ceramics</strong>) at National Art SchooL She has been the recipient <strong>of</strong> numerous awards<br />

including most recently the NAS Aboriginal Art Centre Internship Program, 2010,<br />

Mark Making; 20 <strong>July</strong> - 13 August <strong>2011</strong><br />

Artists: Sandra Black, Bronwyn Kemp, Pippin Drysdale, Louise Boscacci, Janet DeBoos,<br />

Gerry Wedd, Mitsuo Shoji, Alison (Milyika) Carroll and Carol (Anilyuru) Williams<br />

Sabbia Gallery; 120 Glenmore Road, Paddington NSW 2021<br />

T: 02 9361 6448, www.sabbiagallery.com<br />


Getting to Know Woodfire<br />

Ash ley McHutchison and Joey Burns share their recent encounter with wood-fi re<br />

Immersed in bushland and dwarfed by tree canopies, driving down to Reedy Marsh Pottery stirred<br />

fee lings <strong>of</strong> anticipation and excitement as we embarked on a journey that was worlds apart from the<br />

fa st-paced rat race <strong>of</strong> the city. <strong>The</strong>se two novice wood-firers were more than willing for the adventure to<br />

unfold!<br />

As a pre-conference event to Woodfire TAS <strong>2011</strong>, Neil H<strong>of</strong>fman organised the 'Getting to Know<br />

Wood fire' workshop at Reedy Marsh Pottery. Aimed at people who had little or no experience firing<br />

with wood, it was an opportunity to get hands-on experience under the guidance <strong>of</strong> four highly<br />

regarded members <strong>of</strong> the international wood-fire community - Jack Troy (USA), Owen Rye (AUS), Malina<br />

Monks (AUS), and Tara Wilson (USA). <strong>The</strong> goal was to glaze our pots and pack and fire four kilns over<br />

four days. With this line up, it's no wonder that come the first even ing, Neil had eighteen fired-up<br />

students from all over the world sprawled out in tents around his Reedy Marsh property. W ith special<br />

thanks to the local leeches, our wood-firing quest was <strong>of</strong>f to a good start. Being 'leeched' was a right <strong>of</strong><br />

passage; if we leh unscathed we hadn't had the true Reedy Marsh experience.<br />

Aher an early morning walk down the bush track to the self-stoked warm bush shower and a thronelike<br />

drop toilet. the day was <strong>of</strong>f to a great start. Getting back to nature had its perks - no mobile<br />

coverage, no interruptions . . complete immersion in the wood-firing experience.<br />

Participants had been told to bring up to thirty bisqued pots around the size <strong>of</strong> a mug or bowl. Day<br />


Works hop<br />

left: Malina explaining glaze surface to Anthra<br />

Above: Joey Burns choosing glazes<br />

Photos: Alana Blanch<br />

one started with a quick introduction to some suitable glazes and glazing techniques. By late morning<br />

our pots were glazed and by late afternoon they were packed into four different kilns - two phoenix<br />

fast-fire and two bourry box train kilns. With teams assigned, the hows and whys <strong>of</strong> packing a woodburning<br />

kiln were discussed. Mentors explained how to pack a kiln to 'persuade' the flame path and<br />

transfer heat, the pros and cons <strong>of</strong> loose and tight packing, and, possibly the most important process <strong>of</strong><br />

all, wadding! We had to ensure that every pot was standing on little balls <strong>of</strong> a fireclay and sand mix to<br />

keep it up <strong>of</strong>f the shelf and avoid potential sticking with melted fly ash ... while, <strong>of</strong> course, also add ing<br />

aesthetic value. lead by mentors Jack and Tara, participants ignited the first two long-throat bourry box<br />

kilns. Having two pairs <strong>of</strong> almost identical kilns allowed the teams to try out different firing techniques,<br />

which couldn't have been more perfect for the bunch <strong>of</strong> eager stokers. As sunlight faded, dusk fell<br />

with a brisk autumn chill. It was hard to move away from the warmth <strong>of</strong> the campfire and the heat<br />

beginning to radiate from the kilns.<br />

left: Luke packing<br />

Below: Marco. Cila, lise, Jack, Maddy and Ashwini<br />

Photos: Ashley McHutchison<br />


Works hop<br />

Left: Unpacking along the human<br />

chain · Julie, Arti. Use, Merrilyn and<br />

Jack; photo: Ashley McHutchison<br />

Below: Ash, lisa, Tara, Ashwini<br />

and Anthra are all smiles with their<br />

results; photo: Alana Blanch<br />

On the second day, lead by mentors Malina Monks and Owen Rye, the two phoenix fast-fire kilns<br />

were lit and all four firings were underway. Malina's kiln was fired in a light reduction atmosphere while<br />

Owen's kiln was fired with slightly heavier reduction (that quickly became known as Rye's reduction),<br />

producing enough smoke to make you think the kiln shed had caught fire ... surely not! Had it not been<br />

for Julie's alerting shouts, one <strong>of</strong> the kiln sheds would have burnt to ashes after a timber beam caught<br />

alight via the chimney, not once but several times. <strong>The</strong>se two kilns were fired for around fifteen hours<br />

and, as with the other two kilns, a firing roster was made and teams <strong>of</strong> stokers changed every few<br />

hours.<br />

As the firing progressed, the crackling flames on the newly stoked wood were sounds we became<br />

attuned to as the kiln became notably hungrier. Listening to, and learning to read, the fires behaviour<br />

were deeply engaging experiences. With all going to plan, the firings finished after dinner on day two. It<br />

was a rare opportunity to wood-fire four kilns in one location at one time.<br />

<strong>The</strong> two bourry box kilns were fired for 30-35 hours, one with an extended reduced cooling period<br />

over a number <strong>of</strong> hours, while the other was simply closed up. <strong>The</strong>y were also fired for a longer time<br />

period than the other two due to their ability to build up fly ash on the surface <strong>of</strong> the pots and create<br />

natural ash glaze.<br />

On the third day, while the kilns cooled, we engaged in artist talks with Jack Troy, Owen Rye, Ashwini<br />

Bhat and Tara Wilson. But there's nothing like a bit <strong>of</strong> crash cooling to get everyone excited. Late on day<br />


Workshop<br />

three, as the two phoenix fast-fire kilns were opened, the<br />

pinging <strong>of</strong> pots was music to our ears. Glove-clad helpers<br />

unloaded the kilns and the pots were put out on display. A<br />

brief discussion as the sun was setting helped relieve some<br />

excitement and anxiety about the unpacking <strong>of</strong> the final<br />

two kilns first thing the next morning.<br />

Day four was like Christmas morning. <strong>The</strong> build up <strong>of</strong><br />

excitement as we cracked open the final two kilns was<br />

almost unbearable. <strong>The</strong>re were many gasps <strong>of</strong> joy and<br />

smiling faces as the pots were passed along a human chain<br />

and displayed in the order they came from the kiln - and,<br />

considering the relatively short firings, lots <strong>of</strong> great results<br />

were achieved. Post-fire discussion at each <strong>of</strong> the four kilns<br />

involved comparing the two different kiln styles and four<br />

different firing methods.<br />

Owen Rye's phoenix fast·fire kiln after the firing<br />

Food was central to the wood firing adventure. We were fed<br />

like royalty, all-you-could-eat nourishing food. Thank you Anne, Alana, Adam and co!!! Eating around<br />

the campfire was a notable part <strong>of</strong> the communion, akin to firing the kilns, as participants, mentors and<br />

various visitors swapped stories, tips and techniques.<br />

Immense thanks to Neil H<strong>of</strong>fman and family, Michael Stephan, Steve Williams and everyone<br />

who made the pre-conference workshop and Woodfire TAS <strong>2011</strong> come alive. It was everything we<br />

anticipated and so much more! People, pots, bush, wood, food, flame and even the leeches, all made<br />

for a memorable adventure.<br />

A word from Neil:<br />

I was keen for several small kilns [to be fired] rather than one big firing ... [<strong>of</strong>fering a) greater<br />

opportunity for participants to be involved with each stage, and I wanted people to see that woodfiring<br />

doesn't always mean very long firings in very big kilns made <strong>of</strong> many thousands <strong>of</strong> bricks .. . [to<br />

experience] the possibility <strong>of</strong> solo practice, not always needing a big team or a big kiln to make good<br />

work. <strong>The</strong> different kilns made for valuable comparisons between works being fired in differing 'kiln<br />

weather'. I was also keen to have more than one mentor so participants could appreciate a number <strong>of</strong><br />

approaches to firing and hear a whole range <strong>of</strong> stories from those who've<br />

been wood-firers for some time.<br />

Importantly, others helped greatly to bring this vision to fruition, in<br />

particular Michael Stephan who came up from Hobart on a regular basis<br />

to help build and rebuild kilns. His youthful energy (compared to that <strong>of</strong><br />

my aging body) was a godsend. Others who gave their time to help in the<br />

lead up to the workshop were Luke, Cilia, and Jilly. I had a great team!<br />

24-27 April <strong>2011</strong><br />

Reedy Marsh Pottery, Tasmania<br />

Ashley McHutchison is a ceramic artist who lives in Sydney.<br />

Joey Burns is currently enrolled in the Diploma <strong>of</strong> <strong>Ceramics</strong><br />

at Brookvale TAFE, Sydney, with his main focus being<br />

wood-fired functional pots.<br />

Adam 'leeched'<br />

Photo: Alana Blanch<br />


Inside My Studio<br />

In Conversation with<br />

Katherine Mahoney<br />

Vicki Grima: When did you first use clay and what did you make?<br />

Katherine M ahoney: Other than the experience <strong>of</strong> squishing clay from the garden into pinch pots, it<br />

would have been at high school. Banned from the wheel because I was too messy and noisy, I made a<br />

vase out <strong>of</strong> square slabs with a circular hole in the middle.<br />

VG: Where is your current studio?<br />

KM : In a quiet corner at the end <strong>of</strong> my garden.<br />

VG : Do you work alone or with others?<br />

KM: Mostly alone, but <strong>of</strong>ten with the assistance <strong>of</strong> a friend or neighbour when I need inspiration or an<br />

extra pair <strong>of</strong> arms.<br />

VG : How long have you been working in your current studio?<br />

KM : Fourteen years, since we moved from Hong Kong to Sydney.<br />

VG: What are the essential features a studio <strong>of</strong> yours has to have?<br />

KM: Other than the obvious equipment - good karma, a view, calm and a good sound system.<br />

VG : Describe your work pattern - hours / days / week etc.<br />

KM: Making and turning Monday to Wednesday, then catching up with galleries later in the week.<br />

Finally, firing as fast as the weather permits.<br />

84 THE 10URNAL OF AUSTRALIAN CERAMICS IULY <strong>2011</strong>

Katherine's garden studio; work in progress<br />

VG: Describe the work you make in your studio.<br />

KM : Mostly thrown porcelain and stoneware with delightful occasional deviations into sculpture.<br />

VG: What is the most satisfying part <strong>of</strong> your work?<br />

KM : Currently I'm working in collaboration with artists / galleries creating work that fits their aesthetic<br />

and mine. This is such a hard question: the escape to my own little space, throwing on a good day, clay<br />

in perfect condition, glaze strokes that just sing, opening the kiln. It's still a thrill after all these years!<br />

VG: Why is clay your chosen medium)<br />

KM: Too many artists in the family chose paint.<br />

VG : Type <strong>of</strong> clay?<br />

KM : Walkers Superior White porcelain and stoneware.<br />

VG: Type <strong>of</strong> glaze?<br />

KM: I make my own glazes and have liberated my palette after a superb glaze course with Greg Daly.<br />

VG: Type <strong>of</strong> kiln/firing?<br />

KM: Woodrow 10 cubic feet electric kiln with a whiz-bang controller.<br />


Inside My Studio<br />

Katherine's kiln full <strong>of</strong> bisque ware<br />

Below: Katherine's stoneware and porcelain bowls<br />

VG: list your 3 favourite things that you listen to<br />

while working.<br />

KM: Audio books, a compilation <strong>of</strong> modern<br />

Spanish music, quiet.<br />

VG: Your favourite tool?<br />

KM: A screwdriver cleverly fashioned into an<br />

under-cutter/turning tool made by an old friend.<br />

VG : How do you identify your work?<br />

KM: A chop with my initials KM .<br />

VG : How do you sell your work?<br />

KM: Through galleries and exhibitions in<br />

Australia and overseas.<br />

VG : Do you teach or sell from your studio?<br />

KM: J used to teach a lot, but now I teach<br />

privately when I have time.<br />

VG : Who do you admire most in the <strong>Australian</strong><br />

ceramics world?<br />

KM: Judith Buckeridge for having the<br />

commitment and dedication to open Potier, a<br />

first class retail space in Melbourne dedicated<br />

solely to ceramics .<br />

VG: What other jobs, paid or unpaid, fit around<br />

your ceramic practice?<br />

KM : <strong>The</strong> family, the cat, the washing - the usual<br />

stuff.<br />

VG : What is your favourite part <strong>of</strong> the ceramic<br />

process?<br />

KM: Everything I think ... except cleaning up.<br />

VG : If you could change one thing about your<br />

studio, what would that be?<br />

KM: A bit bigger with more shelves.<br />


Inside My Studio<br />

Katherine's stoneware and porcelain bowls<br />

VG: Which single piece <strong>of</strong> ceramics would you most like to own?<br />

KM: A Hans Coper sculptural piece or one <strong>of</strong> Phil Elson's whacking great bowls.<br />

VG: What would you do if you won the lottery?<br />

KM: Buy the above; open a school; <strong>of</strong>fer scholarships in excellence; provide time for potters to expand<br />

into areas they would like to venture into; award prizes <strong>of</strong> trips around the world visiting potteries.<br />

VG: What are you working on now? Exhibitions I workshops coming up?<br />

KM: <strong>The</strong>re 's the collaboration with the AGNSW to produce a range to complement <strong>The</strong> Mad Square<br />

exhibition in August 20 11; pursuing new ideas for anthropomorphic works to go with Julie Paterson 's<br />

fabulous designs at Cloth; and new works for Potier in Melbourne.<br />

E: kamahoney@optusnet.com.au<br />

www.katherinemahoney.id.au<br />


Education<br />

Recovering the Skills <strong>of</strong><br />

Potters in Vanuatu<br />

Alistair Whyte reports on the Vanuatu Pottery Project<br />

This project focuses on South West Say<br />

Malakula in Vanuatu, where my parents were<br />

missionaries over <strong>50</strong> years ago, and has been<br />

driven by the local desire to rediscover a skill<br />

lost in the past. <strong>The</strong> villagers want to recover<br />

the skills <strong>of</strong> the potter and esta blish a local<br />

pottery cottage industry that potentially will<br />

generate some income for the community.<br />

My involvement began last year after an<br />

invitation from Massing Venivil, a retired elder<br />

in Lolow village. I travelled there with my<br />

wife to determine if there was suitable clay<br />

to make pottery. This was quite an adventure<br />

as the local airstrip was out <strong>of</strong> action and the only way in was by boat. I had sent ahead a kick wheel in<br />

pieces (on a yacht going that way), which I assembled when we arrived.<br />

It proved to be a successful trip in many regards and I determined that the elders and leaders in<br />

the area were keen to send one villager to me for a month in Australia, so they could learn pottery<br />

techniques in my studio where I have facilities and equipment not available in Vanuatu. Our biggest<br />

barrier proved to be the funding <strong>of</strong> a ticket and ongoing costs while in Australia, and the second<br />

biggest difficulty was basic communication with a place that does not even have regular mail ( .. oh<br />

for an email link ...). A breakthrough came at Christmas when an organisation called Live & Learn<br />

Environmental Education <strong>of</strong>fered to pay for the return ticket. Soon after, I received confirmation that<br />

the Church elders and leaders had selected Ken Naki to come and stay with me. I had not met Ken<br />

until he arrived in Melbourne, so I had to trust they had made a wise decision. It took time for Ken to<br />

organise his passport and visa for Australia, waiting for a month in Port Vila with relatives. During this<br />

time the Uniting Church in Point Lonsdale raised funds to cover the costs <strong>of</strong> materials while Ken was in<br />

Victoria, while others generously donated books and materials. Special support also enabled us to build<br />

Alistair Whyte demonstrating in Vanuatu, then the locals give it a try and the young ones proudly show their pots<br />


Education<br />

a prototype fibre kiln using a 44 gallon drum and<br />

to fire it while Ken was here. Mark Brabham, a<br />

kiln-burner maker, donated a raku burner for the<br />

kiln and it has subsequently begun its journey to<br />

Vanuatu on another yacht.<br />

We hope to repeat the drum kiln idea in<br />

Vanuatu, as it is a low cost simple kiln that will<br />

largely fire on wood with the gas burner as a<br />

backup. We visited Ric and Judy Pierce at One<br />

Tree Hill Pottery in Beechworth in Central Vidoria<br />

where we learnt many more useful techniques<br />

and were introduced to a clay extruder, and<br />

though it may be a while before we can get<br />

one out to Vanuatu, Ken was able to appreciate<br />

the pradical applications <strong>of</strong> the machine. Ken<br />

returned to Vanuatu after a month <strong>of</strong> intensive<br />

study, full <strong>of</strong> ideas and new skills, and with the<br />

prosped <strong>of</strong> some ongoing support from Live &<br />

Learn. He proved to be a very suitable, skilled,<br />

dedicated, hardworking student.<br />

Stage three <strong>of</strong> the plan is now to find enough<br />

interested potters to take a small group to<br />

Vanuatu in winter 2012 for workshops and<br />

kiln building. Ken has already applied for grant<br />

assistance in Vanuatu but the project still needs<br />

support and training from potters in Austral ia to<br />

keep it fired up. I believe it has every chance <strong>of</strong><br />

success. One only has to look at the history <strong>of</strong><br />

Lapita pottery in Vanuatu to see that there is a<br />

rich historical past <strong>of</strong> pottery to build on.<br />

I have just sent <strong>of</strong>f ceramic fibre, books,<br />

mOUlds, kiln shelves and props via another yacht<br />

sailing from the Gold Coast to Vanuatu.<br />

I would love to hear from potters interested in<br />

this project.<br />

E: ajwhyte@iprimu5.com.au<br />

Top: Construction <strong>of</strong> the drum kiln<br />

Centre: Firing <strong>of</strong> the drum kiln<br />

Above: Ken Naki in Alistair's studio near Melbourne<br />

THE 10URNAL OF AUSTRALIAN CERAMICS IULY <strong>2011</strong> 89

Events: Woodfire Tasmania <strong>2011</strong><br />

1 Deloraine 2 Torbj0rn Kvasb0 3 Graeme Wilkie 4 Steve Williams demonstrating in the main<br />

hall 5 Inside Woodfire: Fifty <strong>Australian</strong> Stories exhibition 6 ShIro Otani 7 Neil H<strong>of</strong>fmann<br />

8 Owen Rye and Jack Troy; 'E-Shouts' panel 9 Robert Sanderson, Michael Stephan, Ge<strong>of</strong>f<br />

Thomas, Sue Acheson, Gyan Wall at the presentation <strong>of</strong> <strong>The</strong> Log Book Emerging Woodfirer<br />

Award <strong>2011</strong> and the Woodfire Exposed Award 10 Tara Wilson and Ashley MCHutchison 11<br />

Maddy Ghosh, Ashwini Bhat, Antra Sinha, Aarti Vir and Janet Mansfield, 'Continental Drift:<br />

Anagama in South India' 12 Steve Williams. Owen Rye, Chester Nealie; Janet Mansfield above<br />

(from image 5) 13 Steve Williams bowl 14 Yuri Wiedenh<strong>of</strong>er vessel (from image 5)<br />


Events: Woodfire Ta smania <strong>2011</strong><br />

Reedy Marsh Pottery Sunday 1 May <strong>2011</strong> 1S Danny Crocco and Gyan Wall<br />

building a kiln 16 Stewart Scambler talking about his work 17 <strong>The</strong> Bauhaus Puja<br />

wood stack 18 Yuri Wiedenh<strong>of</strong>er's team: Sue Acheson, Yuri, Torbj0rn Kvasbt21,<br />

Ursula Burgoyne, Merrilyn Stock, Toni Warburton and Peter Thompson 19 Josh<br />

Copus and the Bauhaus Puja team 20 <strong>The</strong> beer garden, Gyan Walls' double-walled<br />

kiln and Danny Crocco stoking 21 Building Yuri's kiln: Peter Thompson and a bloody<br />

big leech 22 Owen Rye, Paul Davis, Gail Nichols, Barbara Campbell-Allen and<br />

Jacquie Clayton 23 Indian feast 24 Rob Sanderson 25 Jack Troy and Steve Williams<br />

26 Kiln food 27 Judges: Andrew Bryant, Elaine 0 Henry and Vicki Grima 28 Rob<br />

Barron 29 Vintage Tasmanian Woodfire 30 Neil H<strong>of</strong>fmann and partner Anne<br />


Commun ity<br />

Are you in <strong>2011</strong>?<br />

A brief history <strong>of</strong> the <strong>Australian</strong> <strong>Ceramics</strong> Directory and its precursors<br />

by Judith Pearce<br />

<strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Directory will celebrate its 10th birthday next year. Like its printed precursors<br />

- the ten directories published by the Potters' Society <strong>of</strong> Australia from 1964 to 1996 - its main aim is to<br />

showcase the work <strong>of</strong> <strong>Australian</strong> ceramic artists and provide contact details for further communication.<br />

<strong>The</strong> printed directories have since become essential tools for researchers, curators, dealers and collectors.<br />

For some practitioners, a directory entry may be the only published record <strong>of</strong> their existence. For others,<br />

it is a way <strong>of</strong> tracking their development over time. This paper outlines the history <strong>of</strong> publication <strong>of</strong> the<br />

printed directories and the move to a more sustainable online solution, and looks at ways <strong>of</strong> continuing<br />

to develop the <strong>Australian</strong> <strong>Ceramics</strong> Directory as a comprehensive national resource.<br />

<strong>The</strong> Directories<br />

1964: Pottery in Australia<br />

In <strong>No</strong>vember 1964, an extra issue <strong>of</strong> Pottery in Australia, <strong>Vol</strong> 3, <strong>No</strong> 3, was dedicated to illustrating<br />

the work <strong>of</strong> contemporary <strong>Australian</strong> potters. It contained brief biographies <strong>of</strong> 33 potters with pictures<br />

<strong>of</strong> their recent work. <strong>The</strong> intention was to publish an extra issue in this form every year, but nothing<br />

came <strong>of</strong> this.<br />

1973: A Directory <strong>of</strong> Potters<br />

By 1973, the society had 1<strong>50</strong> exhibiting members and over 400 associates. As the number <strong>of</strong><br />

members grew, so too did the need for a directory. A decision was made to publish an Index <strong>of</strong><br />

<strong>Australian</strong> Potters to coincide with the members' 7th Biennial Exh ibition. This was released in Wanda<br />

Garnsey's last year as editor <strong>of</strong> the magazine as an adjunct to <strong>Vol</strong> 12, <strong>No</strong> 2, under the title<br />

A Directory <strong>of</strong> Potters, with plans to revise it at suitable intervals. <strong>The</strong> 1973 directory contained<br />

portrait photographs <strong>of</strong> many <strong>of</strong> the potters, together with contact details, a brief biography and a<br />

statement <strong>of</strong> willingness to receive visitors.<br />

Potters<br />

in<br />

Australia<br />


Community<br />

1977: Potters in Australia<br />

Assisted by a grant from the Craft Board <strong>of</strong> the Australia Council, a revision was published in<br />

1977, edited by Janet Mansfield who had taken over as editor <strong>of</strong> Pottery in Australia from Margot<br />

Staples the year before. Its new title, Potters in Australia: A directory <strong>of</strong> potters in Australia, their<br />

biographies, signatures or marks and photographs <strong>of</strong> recent work, reflected her desire to promote<br />

<strong>Australian</strong> potters as part <strong>of</strong> a larger international community, and to gain recognition for their work.<br />

1981 & 1982: <strong>The</strong> Potters' Directory and Information Book<br />

When a new directory was published to coincide with the second National Potters Conference in May<br />

1981, it took the form <strong>of</strong> pages in an A4 binder that could support regular updates. <strong>The</strong> aim <strong>of</strong> the new<br />

directory was to be fully representative <strong>of</strong> <strong>Australian</strong> pottery at a national level, by including information<br />

about training institutions, pottery groups, manufacturers and suppliers <strong>of</strong> equipment and materials, and<br />

craft shops and galleries. It was called <strong>The</strong> Potters' Directory & Information Book. A 1982 update<br />

was published the following year, but the loose-leaf format proved awkward to use, and no further<br />

updates were issued until 1985, which heralded the first <strong>of</strong> a planned series <strong>of</strong> annual volumes, each<br />

complete in themselves.<br />

1985, 1986-87 & 1988: Potters<br />

Potters 1985 was a small bound book <strong>of</strong> over 100 pages, with a page for each potter. On the back<br />

was written "Are you in 19867" This intention was honoured with two more volumes: 1986-87 and<br />

1988. <strong>The</strong> 1988 volume was a special edition in the year <strong>of</strong> the Fi rst <strong>Australian</strong> International <strong>Ceramics</strong><br />

Symposium, and contained a number <strong>of</strong> New Zealand potters. Perhaps not totally successfully, it was<br />

arranged by the birthday <strong>of</strong> each potter and, for the first time since 1973, con tained no signatures or<br />

marks.<br />

1990: <strong>Ceramics</strong>: Artists/Galleries<br />

During this time, Pottery in Australia had been transformed under Mansfield's editorship into a<br />

quarterly, bound magazine with colour photographs and an outward-looking focus. In 1990, before<br />

leaving to launch her own magazine, <strong>Ceramics</strong>, Art and Perception, she edited a hardcover book<br />

entitled <strong>Ceramics</strong>: Artists/Galleries. <strong>The</strong> aim <strong>of</strong> this publication was to do justice to the pr<strong>of</strong>essional<br />

status <strong>of</strong> artists working with clay, and to the progression from maker through seller to purchaser. Artist<br />

entries included a photograph <strong>of</strong> the artist, an artist's statement, pictures <strong>of</strong> recent work, signatures or<br />

marks, a brief biography and contact details. Galleries were also given a full-page entry <strong>of</strong> their own,<br />

with the opportunity to showcase the work <strong>of</strong> artists they represented.<br />


Community<br />

1996: <strong>The</strong> <strong>Australian</strong> Potters' Directory<br />

Changes in editorship, and the challenge <strong>of</strong> following a publication with such high production<br />

values, delayed the issue <strong>of</strong> a new directory for a number <strong>of</strong> years. In 1996, Sue Buckle returned to first<br />

principles with <strong>The</strong> <strong>Australian</strong> Potters' Directory, published in the same format as the magazine, and<br />

aimed at defining current ceramic practice in Australia. Potters' entries, colour-coded by state, included a<br />

black-and-white picture <strong>of</strong> the potter, a coloured picture <strong>of</strong> recent work, contact details, biographies and<br />

signatures or marks. Gallery entries were arranged by state, and there was an index <strong>of</strong> potters by state<br />

as well, reflecting the national focus.<br />

2002- <strong>2011</strong>: <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Directory<br />

After 1996, the Society waited for technology to provide a more sustainable solution. On 23<br />

February 2002, a new online <strong>Australian</strong> <strong>Ceramics</strong> Directory was <strong>of</strong>ficially launched at the Powerhouse<br />

Museum. <strong>The</strong> online directory contained a picture, a short paragraph describing the artist's practice,<br />

contact details, and an optional link to the artist's website. Entries could also be added for galleries<br />

and organisations. Snapshots <strong>of</strong> the directory at the Internet Archive show that it went live with 32<br />

entries, and that this had grown to 93 by the end <strong>of</strong> 2002. Numbers remained relatively static over the<br />

next five years. <strong>The</strong> cost <strong>of</strong> registration - $66<br />

300<br />

25"<br />

200 +------<br />

1~ ~-~ __ I_----1~--il "<br />

100<br />

~ +--1H.-.<br />

_I<br />

o<br />

.I' .l' .:,-0 .. 0,"0 .... ...<br />

o,~"\. ... o,~~ ... o,~ ... ~ .... # o~~ /<br />

Relative sizes <strong>of</strong> the directories with breakdown by s1ate<br />

O NT<br />

• ACT<br />

"''''<br />

O WA<br />

.....<br />

.QJ.D<br />

• VIC<br />

. NSW<br />

for members <strong>of</strong> the society and $94 for nonmembers<br />

- was a significant barrier. This had<br />

increased to $76 for members and $107.<strong>50</strong> for<br />

non-members by 2007.<br />

When a new version <strong>of</strong> the directory was<br />

released in 2008, the business model was<br />

radically revised . For current members <strong>of</strong> <strong>The</strong><br />

(now) <strong>Australian</strong> <strong>Ceramics</strong> Association, listings<br />

became free, while non-members paid $40 for a<br />

two-year listing. <strong>The</strong> impact <strong>of</strong> this change was<br />

immediate. Nearly 300 artists now have entries<br />

in the online directory.<br />


Com mun ity<br />

Thoughts for the future<br />

<strong>The</strong> online directory has the capacity to be truly comprehensive at a national level, but there are<br />

now many alternative ways <strong>of</strong> getting exposure: personal websites and blogs, websites <strong>of</strong> art and<br />

craft associations in each state, galleries, and regional, national and international artists' networks. It is<br />

hard to maintain entries in multiple places, and artists will give preference to sites closest to their own<br />

networks <strong>of</strong> practice.<br />

NSW numbers are higher than might be expected. <strong>The</strong>re is no competing online directory<br />

infrastructure for NSW artists as, for example, in Victoria, where <strong>Ceramics</strong> Victoria and Craft Victoria<br />

both maintain databases <strong>of</strong> members' recent work, and Potters Online provides a free listing. Perhaps<br />

making it more intuitive to browse by state could be a precursor to agreements with the state<br />

associations that allow free entries in the national directory for their members, and explore the possibility<br />

<strong>of</strong> sharing data between directories.<br />

<strong>The</strong> biggest strength <strong>of</strong> the online directory over the printed directories - the fact that it is easily<br />

updatable - also imposes new challenges. Entries are focused on recent work. Artists' statements take<br />

precedence over biographical details which, while the artist is active, may be readily available in the form<br />

<strong>of</strong> CVs from other websites. Entries can vanish as memberships expire. Providing an alert service for<br />

updated content and access to withdrawn entries through an archival interface, publishing snapshots <strong>of</strong><br />

content, and encouraging contributors to include a history <strong>of</strong> their pr<strong>of</strong>essional practice and images <strong>of</strong><br />

marks, would enable the directory, like its printed precursors, to operate as an effective historical record .<br />

Judith Pearce is a collector and gallery owner located in Bemboka, NSW.<br />

www.australianpotteryatbemboka.com.au<br />

As part <strong>of</strong> an ongoing project to build a database <strong>of</strong> <strong>Australian</strong> contemporary potters and<br />

their marks, she has created a concordance <strong>of</strong> entries in the ten directories published by the<br />

<strong>Australian</strong> Potters' Society between 1964 and 1996, and in the <strong>Australian</strong> <strong>Ceramics</strong> Directory<br />

from 2002 to March 201 1. <strong>The</strong> spreadsheet identifies 867 practitioners in over 1<strong>50</strong>0 separate<br />

entries. She reports that the prize for maintaining a consistent directory presence, with<br />

eight entries each, is shared between Janet Barriskill, Janet DeBoos, Ivan Englund and Janet<br />

Mansfield. Greg Daly, John Dermer, Victor Greenaway and Willi Michalski run a close second,<br />

w ith seven entries each.<br />

oJ n I, 'r.;. ceramu::s<br />

-..,.<br />

~-- «

Wedge<br />

Steve Harrison<br />

Smoke and Mirrors: Reflections on one aspect <strong>of</strong> the<br />

Woodfire TAS <strong>2011</strong> Conference<br />

I attended the recent Tasmanian wood-fire conference and it was, as I<br />

expected, a fantastic event. I really enjoyed it. However, I want to reflect on the<br />

environmental side <strong>of</strong> wood-firing and please, this is not criticism <strong>of</strong> the past<br />

event, rather a way <strong>of</strong> looking forward to the next one, as everyone worked so<br />

hard to make this one the incredible and enjoyable success that it was.<br />

I noticed that there wasn't a panel on the issue <strong>of</strong> susta inability, although a few<br />

potters mentioned it in their presentations. Paul Davis concentrated on the nonsustainable<br />

nature <strong>of</strong> coal mining, while Owen Rye advised wood-firers to start<br />

thinking about owning their own wood lot and Stewart Scambler mentioned that<br />

he has planted his own forest on degraded, salt-affected, former wheat country.<br />

Arthur Rosser has spoken on this in the past, as has Ian Jones. Instead <strong>of</strong> these<br />

very important issues being <strong>of</strong>fered-up piecemeal and in a fragmented way, in the<br />

future I'd like to see a specific panel dedicated to it.<br />

I must say that I felt a touch <strong>of</strong> guilt in travelling all that way for such a short<br />

time. When I mentioned that I had purchased carbon credits to <strong>of</strong>f-set my carbon<br />

debt created by flying to Tasmania, most didn't comment, some ho-hummed, one<br />

asked why and another asked "how does that work"? I realise that in the scale <strong>of</strong><br />

things, it isn't much, but surely we have to start somewhere in reducing carbon<br />

emissions; I don't think we should leave it up to someone else. We ought to start<br />

at home.<br />

<strong>The</strong>re was a conference recently on sustainability in Europe. I didn't go.<br />

I couldn't justify it. I <strong>of</strong>fered to send a paper on sustainability accompanied<br />

by a short DVD presentation, so I wouldn't have to travel (which would be<br />

unsustainable). My <strong>of</strong>fer was not accepted. I thought not going would be<br />

an appropriate way to support a conference on sustainability. As one <strong>of</strong> the<br />

presentations in the mix, it could have been a starting point for discussion<br />

amongst those locals who were present. But no, it wasn't to be.<br />

I would like to see a panel that addresses these all-important issues <strong>of</strong> how<br />

we are going to cope in a low-carbon future at every conference - perhaps a<br />

combination <strong>of</strong> personal stories, research experiments and theoretical approaches;<br />

even a remotely presented paper from overseas via Skype! Why noP<br />

I can see a time when it could be difficult to fire a smoky wood kiln, except<br />

in remote areas. Even travelling to conferences may become difficult when<br />

airfares rise due to escalating fuel costs. Shouldn't we be thinking about this and<br />

discussing it now before it's too late? I feel we should be preparing ourselves,<br />

making changes, theorising, testing ideas, experimenting and sharing the results <strong>of</strong><br />

our research with each other, before change is forced on us.<br />


Potters Marks<br />

Potters Marks<br />

Anne Braithwaite<br />

David Edmonds<br />

Janetta Kerr-Grant Janetta Kerr-Grant JoWood<br />

Gary Healey<br />

Katherine Mahoney<br />


Arc hive: Pottery in Australia. <strong>Vol</strong> 28. <strong>No</strong> 4. Dece mber 1989<br />

article: Peter Timms<br />

Teapots<br />

A Pedantic Epistle<br />

Quite frankly, I sometimes wonder how many <strong>of</strong> our<br />

potters are really seflOUS lea·dnnkers, the sort who<br />

knoYr', for example. to turn the pot three limes. an .<br />

clockWIse. before pounng. For while you can lind<br />

teapots In almost any form Imaginable these days,<br />

)O.ire not bkely to find one thai's SImple. well designed<br />

and capable <strong>of</strong> makJng a good cuppa 01 course<br />

many people WIll pour a mug <strong>of</strong> some weak slop from<br />

a highly amusing teapot In the form at a monkey's<br />

bum or some such thing and say, "Look allhal l<br />

<strong>No</strong>thing wrong Wllh Ihal cup <strong>of</strong> tea," and <strong>of</strong> course<br />

they're perfectly entitled to th",r Opinion<br />

But a real conf"lOl:sseur's cuppa IS a different kettle<br />

<strong>of</strong> fish altogether and can only come from a properly<br />

desrgned pot<br />

Frrstly, the pot should be sphencal or near .pheflcal<br />

In form. ThiS IS SO that when you do lurn II three limes<br />

antl-dockwlse a sp.raJ motJOnIS set up counter to the<br />

fOfce created by the eanh s rotaT on rather I ke thaI<br />

In the bathlub whtlln you pull the plug but n lh 5<br />

case ffiOVlrtg upwards rather than dONn....ards<br />

(Presumably you would lurn lhe pot ctockW'se n the<br />

northern hemISphere On the eQuator smany·pa.ntS<br />

It'stooh~ lodnnk lea anyway) 11"5 a mflOf It not to<br />

say pernock Iy peon!. t know HeM''''''' ,I you lean<br />

toward a hlppte mental ty you III • at least enJOY<br />

making such ,nhmate contact w th the g ani forces<br />

d natUfe even II you don·, no! ce led Iferencc<br />

makes to the taste cJ the tea <strong>The</strong> sphere shoulC<br />

really be slightly squaShed so Its WIdth IS greater<br />

Than .ts heghl <strong>The</strong> InfUSIon process from the<br />

leaves althe bottom through the water IS !nus<br />

an ever·bfOadenlOg sPIral Th1s really does make<br />

a beiter-tasting cup<br />

fan Jones<br />

Photo cathy Laudenbach<br />

17<br />


Arch ive: Pottery in Australia, <strong>Vol</strong> 28, <strong>No</strong> 4. December 1989<br />

,he hon 10 han

Well Read<br />

Introducing Pottery:<br />

<strong>The</strong> Complete Guide<br />

by Dan Rhode<br />

Published by A&C Black Publishers, 2010<br />

160 pages, paperback, $45<br />

ISBN 9781408110065<br />

<strong>No</strong>w available online<br />

www.australianceramics.com<br />

or call 1300 720 124<br />

Dan Rhode is a potter and educator from the US who successfully ran his own pottery business in<br />

<strong>No</strong>rth Carolina for ten years and recently moved to the UK to continue running a pottery from his home<br />

studio. In this book his experience as a teacher comes to the fore as he comprehensively and simply<br />

explains the essentials <strong>of</strong> making ceram ics.<br />

This book covers the basics from the history <strong>of</strong> ceramics to a brief overview <strong>of</strong> wheel-forming and<br />

hand-building. but its value and difference to other similar how-to books lies in explaining clay bodies,<br />

glazes and firing in a simple and methodical way. <strong>The</strong> author has the ability to explain simply what<br />

clay is, what glazes are, and what kilns do, all interspersed with good photos, step-by-step practical<br />

information and ideas for problem solving.<br />

<strong>The</strong> chapter titles include an ambitious list <strong>of</strong> ceramic techn iques and methods - Clay: geology,<br />

chemistry and clay bodies; Glazes: components, chemistry and fired characteristics; and Mixing glazes<br />

and improving performance. <strong>The</strong>re are also some very useful and practical Appendices, including Studio<br />

Safety and Environmental Health, and US and UK Ceramic Terminology equivalents.<br />

Surprisingly. this is not a daunting book for a beginner, nor is it too simplistic for the more<br />

experienced clay worker. It provides a happy medium by encouraging artists to evolve their work in a<br />

step-by-step approach, giving them the tools with which to evaluate and learn. As the author points<br />

out, frustration can arise as work progresses but is not able to be evaluated. His aim is to provide clay<br />

artists with enough information to clarify but not overwhelm.<br />

Dan Rhode has created a book for those with a bit <strong>of</strong> experience looking to set up their own studio,<br />

but it will also provide the studio ceramicist or teacher with a practical, stra ightforward and very useful<br />

reference book.<br />

Review by Amanda Hale<br />


Well Read<br />

Slab Techniques<br />

by Ian Marsh and Jim Robison<br />

<strong>Ceramics</strong> Handbook<br />

Published by A&C Black, 2010<br />

128 pages, paperback, $36.99<br />

ISBN 9781408110065<br />

ceram ics<br />


Slab<br />

Techniques<br />

<strong>No</strong>w available online<br />

www.australianceramics.com<br />

or call 1300 720 124<br />

Robison is known for his large-scale sculptural work including textured wall panels and public<br />

commissions . Marsh produces functional work with strong sculptural elements. Both UK artists work<br />

with slabs and extrusions with Marsh also working with the coil technique. Together their wealth <strong>of</strong><br />

knowledge on slab forming is vast and informative and it's condensed in the book . <strong>The</strong> publication<br />

coincided with in a joint exhibition, Slab Techniques, in <strong>No</strong>vember 2010, and displayed work that was<br />

included in the book.<br />

<strong>The</strong> chapters are easy to follow with step-by-step guides to the slab-making process, including the<br />

importance <strong>of</strong> detail when creating large-scale work. Good advice is found throughout the chapters,<br />

for example, when working on the join <strong>of</strong> the interior seam, a right angle <strong>of</strong> stiff card is placed on the<br />

outside join as a support to keep the exterior seam crisp and undamaged.<br />

One unique surface treatment technique is covered by Roger Lewis. <strong>The</strong> potter lays two slabs<br />

together, seals up the edges leaving a small hole in one seam in which to insert a straw, he then inflates<br />

the slabs so a pillow <strong>of</strong> clay is formed. <strong>The</strong> hole is sealed over and wooden stencils are pressed into the<br />

pillow <strong>of</strong> clay, resulting in a very s<strong>of</strong>t design in relief.<br />

Although the Ceramic Handbook series are aimed at the novice, there is much to inspire the more<br />

advanced ceramicist. Slab Techniques is a concise and informative book to have on your shelf for quick<br />

reference and as a platform for further research and exploration, with many inspiring photographs<br />

accompanying the text.<br />

Review by Natalie Velthuyzen<br />


Australia Wide<br />

act<br />

After many delays due to wet weather and<br />

other unforeseen hitches, the much anticipated<br />

new studios at Watson Arts Centre are at last<br />

underway. Concrete has been poured and the<br />

frames <strong>of</strong> the five new studios are a powerful<br />

presence overlooking the courtyard garden.<br />

Canberra Potters' Society has postponed the<br />

proposed Open Day and it is now planned to<br />

coincide with the <strong>of</strong>ficial opening <strong>of</strong> the new<br />

studios, date to be announced, see<br />

www.canberrapotters.com.au for details.<br />

Workshops and classes at CPS continue unabated<br />

in spite <strong>of</strong> the building activity and the exhibition<br />

program at Watson Arts Centre Gallery is as full<br />

as ever. Fourteen members recently enjoyed a<br />

challenging hands-on workshop with visiting<br />

artist Hillary Kane, who also gave an enlightening<br />

evening presentation for large group <strong>of</strong> members<br />

and friends. Coming ceramics exhibitions include<br />

the <strong>2011</strong> EASS exhibition, 14 <strong>July</strong> to 7 August,<br />

featuring four 2010 graduates from ANU - Sylvia<br />

Marris, Elisabeth de Koke, Henrietta <strong>No</strong>rris and<br />

Rose Walker. <strong>The</strong> CPS Annual Selected Members<br />

exhibition will run 22 September to 9 October.<br />

From 27 October to 6 <strong>No</strong>vember there will be an<br />

exhibition <strong>of</strong> work by Greg Daly.<br />

Ceramicists from the Canberra region and further<br />

afield are anticipating an exciting month in<br />

August when the ANU School <strong>of</strong> Art <strong>Ceramics</strong><br />

Workshop will be hosting visiting artists from<br />

Australia and overseas. Many Canberra galleries<br />

will have dedicated ceramics exhibitions and<br />

various presentations are proposed for the<br />

weekend <strong>of</strong> 20 and 21 August. For the latest<br />

information, visit http://soa.anu.edu.au/ceramics.<br />

Jane Crick, E: janecrick@dodo.com.au<br />

nsw<br />

Selected graduating students from Brookvale,<br />

Gymea and Hornsby TAFE colleges, Sydney<br />

College <strong>of</strong> the Arts, College <strong>of</strong> Fine Arts and<br />

National Art School recently exhibited their work<br />

at Kerrie Lowe Gallery. A Fresh Perspective<br />

illustrated the broad range <strong>of</strong> ideas and the<br />

development <strong>of</strong> skills taught in our education<br />

facilities. As an educator, it is informative to see<br />

what is happening in other inst itutions through<br />

galleries exhibiting<br />

graduating<br />

students and <strong>of</strong><br />

course, this annual<br />

edition <strong>of</strong> JAC is <strong>of</strong><br />

particular interest<br />

to students and<br />

teachers . Of<br />

personal note,<br />

among the many<br />

fine works at<br />

Carole l eigh<br />

Kerrie Lowe<br />

Gallery were<br />

Carole Leigh's<br />

skilfully executed forms, Tim Mantzouridis'<br />

Ambiguous Perception busts, where he sliced<br />

the works vertically, alluding to the complexity<br />

<strong>of</strong> the human mind, and Tanya Peck's kelp<br />

forest installation, this one being specific to the<br />

otter. Environmental installations appear to be<br />

<strong>of</strong> growing concern to ceramic artists. At White<br />

Rabbit Gallery, Ch ippendale, Zhou Jie has created<br />

a porcelain city that sits in a huge bed <strong>of</strong> rice and<br />

is covered in what resembles organic growths.<br />

This master's work concerns the burgeoning<br />

population growth <strong>of</strong> Beijing.<br />

Back to Back Galleries in Newcastle will be calling<br />

for entries in their Bowled Over competition in<br />

the second half <strong>of</strong> 2012. <strong>The</strong>y will be looking at<br />

exceptional bowls created with the collector in<br />

mind; more info in the next edition <strong>of</strong> JAC.<br />

Outdoor sculptures are certainly becoming<br />

popular. <strong>The</strong> vineyards are calling for entries;<br />

go to www.sculptureinthevineyards.com.au for<br />

details. <strong>The</strong> exhibition opens 2 October <strong>2011</strong> and<br />

runs to 22 January 2012 . Another region keen<br />

to attract tourists interested in the arts is Nelson<br />

Bay. <strong>The</strong>y have funding for the next few years for<br />

their Sculptures by the Bay exhibition and are<br />

also asking for submissions for workshops;<br />

www.sculpturesbythebay.com.au .<br />

Sue Stewart, E: sue@ceramicartist.com.au<br />

qld far north<br />

Cairns Potters Club (CPC) members remain busy<br />

making exciting and colourful artworks for our<br />

national ceramic exhibition, Melting Pot <strong>2011</strong> ,<br />

which will be held at Cairns Regional Gallery 29<br />

102 THE 10URNAl OF AUSTRALIAN CERAMICS IUlY <strong>2011</strong>

Australia Wide<br />

<strong>July</strong> to 18 September 201 1. We hope to also<br />

display works from potters throughout Australia.<br />

In April, CPC organised a half-day raku-firing<br />

workshop, inviting non-members to participate.<br />

<strong>The</strong> day was such a success that the club decided<br />

to repeat it on a larger scale during Festival<br />

Cairns, 9 August to 4 September.<br />

<strong>The</strong> CPC is also organising a one-day workshop<br />

at the Cairns Regional Gallery on 14 August for<br />

the people <strong>of</strong> Cairns to make pots for the raku<br />

firing day at the club on Sunday 28 August .<strong>The</strong><br />

club will be opening its doors for the locals to<br />

visit the clubhouse on the Sunday afternoon, buy<br />

a pot, decorate it with glazes provided and get<br />

it fired on the spot. <strong>The</strong> event is planned to go<br />

on well into the evening, so it should be a lot <strong>of</strong><br />

fun!<br />

<strong>The</strong> forthcoming international conference,<br />

9th International Meeting <strong>of</strong> the Pacific Rim<br />

Ceramic Societies (PacRim 9) will be held in the<br />

Cairns Convention Centre, 10-13 <strong>July</strong> <strong>2011</strong>. <strong>The</strong><br />

Cairns Potters Club has been invited to set up<br />

an exhibition, which will be open to the public,<br />

at the conference. So, if you happen to be in<br />

Cairns, please drop in.<br />

Lone White, E: lone@tpg.com .au<br />

qld south east<br />

How about we delete <strong>2011</strong>! Floods, tsunamis,<br />

cyclones, earthquakes, tornadoes, fires ... the list<br />

goes on and on. Just as well we have beloved<br />

clay to soothe away the ills and dramas <strong>of</strong> the<br />

world.<br />

Here on the Gold Coast we are rushing along<br />

with a string <strong>of</strong> events planned for <strong>2011</strong>.<br />

Convener Suki Mead is working feverishly to<br />

make our Empty Bowl Lunch on 19 June even<br />

more spectacular and successful than the first<br />

in 2010. In early <strong>July</strong>, Helen Charles will be<br />

holding a workshop at our Benowa Studios on<br />

hand-building large pots. This workshop filled<br />

very quickly with much interest from Stan thorpe,<br />

Warwick and the Sunshine Coast, and we are<br />

looking forward to a weekend <strong>of</strong> manipulating<br />

clay into fantastically large forms. On 31 <strong>July</strong>,<br />

Megan Puis will be conducting a wheel-forming<br />

workshop, with an emphasis on recycling clay,<br />

throwing tall bottles, altering, adding, Southern<br />

Ice, non-turning bowls, throwing <strong>of</strong>f the hump,<br />

stack throwing and goblets.<br />

<strong>The</strong> Gold Coast Potters' Association (GCPA)<br />

Annual Members' Exhibition will open on 13<br />

August <strong>2011</strong> at the Clay Art Benowa Gallery,<br />

with the themed section, functional domestic.<br />

We look forward to having new students' work<br />

exhibited this year.<br />

Di Buckland <strong>of</strong> the GCPA held a primitive firing<br />

workshop in April with participants coming from<br />

as far as Stanthorpe. An article on the workshop,<br />

written by June Cummings, can be viewed in the<br />

May edition <strong>of</strong> <strong>The</strong> Claypen. To access the article<br />

go to www.goldcoastpotters.com or the GCPA<br />

Facebook page.<br />

<strong>The</strong> Clay Art Benowa Gallery group held a very<br />

successful opening exhibition on the 27 March<br />

to welcome Kathryn Mitchell and Joanne McFaul<br />

to the Gallery. <strong>The</strong> gallery is open each weekend,<br />

lOam - 4pm; for viewings outside these times<br />

please call 07 5539 2<strong>50</strong>2.<br />

Suncoast Clayworkers Spring Fever is on 7-11<br />

September, so for a registration form, please go<br />

to www.suncoastclayworkers.org.au.<br />

Happy potting,<br />

Lyn Rogers<br />

T: 07 5594 3307; F: 07 5594 3365<br />

E: romeo-whisky@bigpond.com<br />

sa<br />

<strong>The</strong> JamFactory <strong>Ceramics</strong> Studio welcomes David<br />

Pedlar as the new program manager. Together<br />

with creative director Prue Venables and the<br />

associates, David will establish new studio ranges<br />

and commission work for the Ceramic Studio.<br />

Prue Venables was one <strong>of</strong> four finalists in the<br />

Alcorso Foundation Vitrify <strong>Ceramics</strong> Award, a<br />

newly established $ 1 0,000 annual ceramics prize<br />

in Hobart.<br />

Gus Clutterbuck's solo exhibition was held at Art<br />

Images Gallery <strong>No</strong>rwood, 13 May - 5 June. From<br />

the catalogue: "Clutterbuck's work is inspired<br />

by objects found in the Anangu Pitjantjatjara<br />

Yankunytjatjara lands <strong>of</strong> South Australia. His<br />

work celebrates the broken, discarded and<br />

dysfunctional ... things that disintegrate into the<br />

landscape and become part <strong>of</strong> the earth."<br />

Susan Frost, Jane Robertson, Stephanie James­<br />

Manttan and Maria Chatzinikolaki will take part<br />

in the Bowerbird Craft Fair in Adelaide on 6, 7<br />


Australia Wide<br />

and 8 May. Previous events, which feature a wide<br />

array <strong>of</strong> handmade and designed items, have<br />

been very well attended.<br />

In late May, Lesa Farrant and Louise Flaherty<br />

exhibited new work in an exh ibition w ith Chris<br />

De Rosa and Stephanie Raddock at Artroom,<br />

Henley Beach .<br />

Studio Potters are hosting a visiting artists<br />

workshop w ith Owen Rye on 9 and 10 <strong>July</strong>.<br />

Owen w ill demonstrate many wheel-based<br />

techniques. A three-day exhibition <strong>of</strong> his work<br />

will be runn ing concurrently at the Studio Potters<br />

Gallery, Klemzig.<br />

Planning continues for the 2012 <strong>Australian</strong><br />

<strong>Ceramics</strong> Trienniale to be held in Adelaide<br />

from 28 September to 1 Odober; email<br />

subversiveclay@craftsouth.org.au or phone<br />

0884101822.<br />

Kirsten Coelho; E: kandd@chariot.net.au<br />

tas<br />

Woodfire TAS <strong>2011</strong> was a mixture <strong>of</strong> ta lks,<br />

demonstrations and gallery openings. Among<br />

the exhibitions were International Woodfired<br />

Tableware, Continental Drift: Anagama in<br />

South India and Early Career USA Woodfirers,<br />

Josh Copus and Eric Knoche amongst them.<br />

Inside Woodfire - Fifty <strong>Australian</strong> Stories,<br />

curated by Ben Richardson, included work by<br />

Chester Nealie, Gwyn Hanssen-Pigott. Janet<br />

Mansfield, Owen Rye, Peter Pilven, Graeme<br />

Wilkie, Neil H<strong>of</strong>fman and 43 others.<br />

Malina Monks sang old Scottish songs from<br />

the weavers and spoke <strong>of</strong> her work inspired by<br />

her heritage, a piece <strong>of</strong> which was in the Fifty<br />

<strong>Australian</strong> Stories exhibition.<br />

Graeme W ilkie's talk was full <strong>of</strong> things on which<br />

to contemplate deeply - he spoke <strong>of</strong> the need to<br />

develop intuition and to be still. "What informs<br />

my work is emptiness," he said.<br />

Shiro Otani from Sh igaraki, Japan gave a very<br />

informative presentation <strong>of</strong> the history <strong>of</strong><br />

Japanese ceramics. His own work is made with<br />

the red clay <strong>of</strong> Shigaraki, and he is well known<br />

in Japan for his beautiful glazes. Torbj0rn Kvasb0<br />

from <strong>No</strong>rway demonstrated and showed images<br />

<strong>of</strong> his amazing work, much <strong>of</strong> which is formed<br />

from extruded sections, enormous and very<br />

dynamic, <strong>of</strong>ten built and glazed directly on the<br />

kiln shelves. " <strong>The</strong> stronger the frustration the<br />

closer you are to a breakthrough, " he said .<br />

Other moments to remember (too many to<br />

mention all) came from Hillary Kane from Gaya<br />

Art Centre in Bali, Steve Williams with his large<br />

s<strong>of</strong>t slabs from a thrown cylinder draped over a<br />

stacking <strong>of</strong> sticks, Chester Nealie demonstrating<br />

" bundle stacking " (he recommends the Auckland<br />

Studio Potters Playing with Fire book), and Gail<br />

Nichols talking <strong>of</strong> her chance discoveries when<br />

teaching herself soda-firing .<br />

Vitrify is a new ceramics award sponsored by<br />

the Alcorso Foundation. It attracted entries from<br />

several states. <strong>The</strong> judges, Les Blakebrough, <strong>No</strong>el<br />

Frankham and Tetsuya Wakuda, awarded the<br />

$10,000 prize to Tasmanian Ben Richardson for<br />

his wood-fired sculptural vessels. <strong>The</strong> three other<br />

finalists were Belinda Winkler, Prue Venables and<br />

Kim-Anh Nguyen .<br />

Other recent exhibitions <strong>of</strong> note have been by<br />

Derek Smith, whose work is always inspirational,<br />

and another Tea for Two exhibition by members<br />

<strong>of</strong> the Tasman ian <strong>Ceramics</strong> Association. <strong>The</strong><br />

Offcentre cooperative is currently in the throes <strong>of</strong><br />

changing premises to a more accessible location.<br />

John Watson; E: john@dmink.net<br />

vic<br />

Once again the Manningham Victorian Ceramic<br />

Art Award Exhibition was a beautifully displayed<br />

exhibition <strong>of</strong> diverse, ma inly conceptual<br />

works. Christopher Headley won first prize, an<br />

acquisitive award with Forgotten Words 2010,<br />

a group <strong>of</strong> works incorporating decals and<br />

lustre. <strong>The</strong> Valley <strong>of</strong> the Arts Acquisitive Award<br />

went to Paul Wood w ith L N Fowler 2010, an<br />

assemblage <strong>of</strong> found ceramic and glass objects.<br />

Other acquisit ions were by Brian Keyte, Phi<br />

Triptych, Robyne Latham Strange Fruits, Tina<br />

Lee <strong>The</strong> Karens', and Vipoo Srivi lasa, Child's<br />

Play.<br />

Crosshatched, an exhibition and auction <strong>of</strong><br />

traditional Indian mudka (water pots) was held<br />

at Pan Gallery in April to help raise funds to<br />

build an energy efficient kiln in Kumhaar Gram,<br />

India. Traditional Indian potters Manori Lal and<br />

Dharmveer visited Australia with support from<br />

the South Asia Foundation, Goa Handicrafts<br />

Rural and Small Scale Industries Development<br />


Australia Wide<br />

Corporation. and Crosshatched ceramicists<br />

Sandra Bowkett and Ann Ferguson. Over twenty<br />

Melbourne ceramic artists decorated the mudka,<br />

made by the Indian potters, with amazing results.<br />

Sadly, Crosshatched was the final event for Pan<br />

Gallery. In response to the demand for more<br />

workshops and master classes, the exhibition<br />

space at <strong>No</strong>rthcote Pottery is to be used as a<br />

classroom, and SMALLpieces will take over as the<br />

gallery space. <strong>The</strong> work in SMALLpieces, from<br />

emerging and established praditioners, includes<br />

jewellery, vessels and sculptures.<br />

<strong>The</strong> Studio@Flinders 7th Annual Teapot Show<br />

displayed a varying array <strong>of</strong> fundional, decorative<br />

and sculptural teapots. <strong>The</strong> judge, Chris Sanders,<br />

awarded the Functional Award to Julie Shaw. Jill<br />

Anderson received the <strong>No</strong>n-fundional Award.<br />

<strong>The</strong> Clayworks Encouragement Award was<br />

won by Lemonia Piperglou, the Walker Ceramic<br />

Award by Chris Harford and the GE & GE Kilns<br />

Award by Sue James. Marilyn Townsend 's work<br />

was Highly Commended.<br />

Coming up at Skepsi on Swanston (at <strong>The</strong><br />

Malvern Artist's Society, 1297- 1299 High Street,<br />

Malvern) is <strong>Ceramics</strong> <strong>of</strong> Brian Keyte from<br />

12-28 August, and Energy, an exhibition by<br />

emerging artists, from 9-25 September.<br />

<strong>Ceramics</strong> Vidoria is organising Meet & Greet<br />

afternoons around Vidoria - an opportunity<br />

for all members to come along, meet fellow<br />

members and have a chat. Future events include<br />

a silent pot audion, tours to regional potters'<br />

studios, and a Christmas Party.<br />

Visit www.ceramicsvidoria.org.au for more<br />

information.<br />

Glenn England<br />

E: glennengland@optusnet.com.au<br />

wa<br />

Congratulations to Cher Shackleton who received<br />

an Honourable Mention at the Vasefinder <strong>2011</strong><br />

competition for her wood- and soda-fired basket.<br />

Th is is an international invitational competition,<br />

judged by Robin Hopper. Cher won the same<br />

award last year, the first time it had been<br />

awarded outside the USA.<br />

At Penrhos College's Easter Service, one hour<br />

was given to complete a sculpture with the<br />

theme, Being Formed. Graham Hay excelled by<br />

completing a 1 metre high, kneeling, paperclay<br />

figure. This will be given to Penrhos' chaplain.<br />

After more than a year's preparation by Graham,<br />

you can now view free educational videos on the<br />

use <strong>of</strong> paperclay. Get yourself a cuppa, sit back<br />

and have a look-see:<br />

http://grahamhay.com.au/paperclayvideos.html<br />

Sandra Black has been included in a show at<br />

<strong>No</strong>ble Seafood Restaurant in Shanghai, showing<br />

her Year <strong>of</strong> the Rabbit inspired teapots.<br />

A group <strong>of</strong> CAAWA members spent an enjoyable<br />

2 -night trip to the south west <strong>of</strong> WA. Ian<br />

Dowling drove them in a bus to his own studio,<br />

and also to the studios <strong>of</strong> Bill Meiklejohn, Myles<br />

and Jacquie Happ, Tova H<strong>of</strong>fman and Rod Dilkes,<br />

Alison Brown, and the Busselton Pottery Group.<br />

<strong>The</strong>y came away full <strong>of</strong> inspiration, and content<br />

from the food and wine consumed.<br />

Sheryl Chant has been busy preparing work for<br />

the Rockingham Castaways Sculpture Awards<br />

<strong>2011</strong> and being interviewed for C hinwag,<br />

Community Arts Network, as well as coordinating<br />

an event for the Zaccaria Park Community.<br />

Jackie Gasson from Queensland conduded a<br />

two-day hands-on workshop on ceramic colour<br />

at the Central Institute <strong>of</strong> Technology. Robyn<br />

Bloom and Natalie Harrop thoroughly enjoyed<br />

themselves and went on to have a lesson with<br />

Cher Shackleton soon after.<br />

Canning Arts Group recently celebrated their<br />

40th anniversary with early members calling in<br />

to chat with current members. Everyone had a<br />

good time.<br />

Jane Annois from Vidoria presented a 2-day raku<br />

workshop at Perth Studio Potters, focussing on<br />

techniques and firing.<br />

<strong>The</strong> Study Group has had some interesting<br />

meetings, including Show & Tell where<br />

members bring ceramic works from their own<br />

collections. We have also watched films <strong>of</strong> classic<br />

English potter Michael Casson, and more modern<br />

surface decoration from American Ceramic artist<br />

Kristen Kieffer. We also enjoyed a presentation<br />

on Woodfire TAS <strong>2011</strong> , with attendees bringing<br />

along the pots they had brought home.<br />

Pauline Mann<br />

T: 08 9459 8140; E: pandpm@westnet.com.au<br />



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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> theme and deadline for the final issue <strong>of</strong> <strong>2011</strong> is:<br />

Issue <strong>50</strong>/3, publication 20 <strong>No</strong>vember <strong>2011</strong><br />

<strong>Ceramics</strong> and Narrative: Deadline for copy - 13 August <strong>2011</strong><br />

Papers must conform to the editorial and photographic requirements available on<br />

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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 />



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Signature 1 Date<br />

Fax or mail to <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association. PO Box 274 Waverley NSW 2024 Australia<br />

T: 1300720 124 F: +61 (2) 9369 3742 E: mail@australianceramics.com www.australianceramics.com<br />


Classifieds<br />



By uSing state <strong>of</strong> the art digital printing technology, 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: 'N'INW.decaispecialists.com.au<br />

T: 1300 132 771; E: enquiries@decalspeciaiists.com.au<br />


Sydney inner city patteI)' supphes: Keane's Clay - discount<br />

on 5 bagsll0+ bags; Southern Ice Porcelain; Museum Gel:<br />

Chinese Decals; Wide range <strong>of</strong> tools, glazes, underglazes -<br />

student dIscount on glazeslunderglazes; Kerrie lowe Gallery,<br />

49 King St, Newtown; T: 02 95<strong>50</strong> 4433; E: lowekerrie@<br />

gmail.com; Mon to Sat, lOam - 5.30 pm: Thurs until 7 pm.<br />


Gold Coast Chma Painting Supplies is one <strong>of</strong> Australia's<br />

largest suppliers <strong>of</strong> china painting produds. We supply<br />

on-glaze paints, painting mediums, lustres. gold, brushes,<br />

tools and specialty decals. Please contact Sandra to discuss<br />

requirements, technical information or to request a full<br />

product listing; T: 07 5597 0859; E: sandra@goldcoastchina.<br />

corn.au; www.goldcoastchina.com.au<br />


Quality supplies and friendly service; A wide range <strong>of</strong> days<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 51. 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 GaileI)', 75 Curtis St, Oberon NSW 2787<br />

T: 02 6336 041 t; f: 02 6336 0898; M : 0418 982 837<br />

E: into@pottersneeds.com.au; www.ponersneeds.com.au<br />


One <strong>of</strong> Australia'S most experienced kiln and furnace<br />

manu·facturers; 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 Georg. St, Blackburn VIC 3130<br />

l' +61 (0)39877 4188; f : +61 (0)398941974<br />

E: info@tetlow.com.au; VoJIIoIW.teUow.com.au<br />

venco VENCO PRODUCTS<br />

Manufacturers and .xporters <strong>of</strong> high quality patteI)'<br />

equipment Venco manufacture a range <strong>of</strong> pug mills 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: +61 (0)8 9399 5265; f : +61 (0)8 9497 1335;<br />

lNWW.venco.com.au<br />



Small personalised tours to France: 1·15 September <strong>2011</strong> :<br />

Painting in Paris and lolling on the Loire; 18 September-<br />

2 October <strong>2011</strong> : Beaujolais, Burgundy and Alsace - wine,<br />

pottel)'; 21 May·4 June 2012: Painting in Provence; 7-21<br />

June 2012: Pottery, lavender and Rural Hideaways; contact<br />

Jane: jane@zestefrenchtours.com; T: 03 9844 2337<br />

M : 0422 942 216; www.zestefrenchtours.com<br />

fOR SALE<br />


Woodrow SK130C 6kw: Among the largest singl. phase<br />

kilns made by Woodrow. it will fir. to 1280°C. Owned by an<br />

amateur potter, the kiln has had very little use and is in top<br />

condition. Controller is a multi-stage unit with soak facilities<br />

at each stage; Size (out) w 755!d 780ih 905 + legs & (in) w<br />

4<strong>50</strong>1d 4SO/h 640. For construction details go to W\o\I'W.kilns.<br />

com.3u; $37<strong>50</strong> ono.<br />

Kazegama Kiln: Believed unique in Australia, this fully towable,<br />

trailer·mounted kiln is based on a design developed in<br />

USA (see www.kazegamas.com). <strong>The</strong> kiln was demonstrated<br />

at the Sturt Woodfir. 08. Built with four large end gas burn·<br />

ers (fires easily to 1300"C) at one end and a chimney at the<br />

other, ports allow wood ash (or oxides) to be blown In and<br />

distributed over the pots by the blast from the burners. <strong>The</strong><br />

kiln with insulation by Steve Harrison at Hot and Sticky. fires<br />

easily to stoneware temperatures; Four 4<strong>50</strong> x 4<strong>50</strong> shelves<br />

are used for each pot layer; $4000 ono<br />

Further Info from Bill: 0418 257 330; located in the<br />

Southern Highlands, NSW<br />

GROUPS<br />


CSG holds monthly meetings in Epping NSW and occasional<br />

workshOps w ith 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 stude-nts, to learn and network.<br />

E: csgsecretary@hotmail.com<br />

WWN.ceramicstudygroup.org.au<br />



ceramic mass production and artworks. Ceramic design<br />

service also available. Contad Somchai T: 02 9703 2557<br />

M : 0401 359 126; E: eatandclay@gmail.com<br />




<strong>No</strong>w franch iSing in Australia. We are a South African<br />

Franchisor specializing in creative skills development lessons,<br />

with children from age 3 onwards, using pottery and craft<br />

lessons as a medium. We are starting in Sydney. but prospec·<br />

tive Franchisees in other areas may contact us. Our Franchise<br />

Fee has 4 Franchise Kit options: Options A, Band C indude<br />

different Woodrow kilns (for prospective Franchisees who<br />

do not have a kiln). Option 0 does not include a kiln as it is<br />

for Franchisees who have their own kiln. Our Franchise Kit is<br />

<strong>Australian</strong> and all our suppliers are <strong>Australian</strong>. Con tad linda<br />

or Eddy, E: info@bacreate.com; WINW.bacreate.com<br />


Classifieds<br />



Providing ceramic artists with digital and traditional<br />

photographic imagery. as well as graphic design to print or<br />

electronic media; an Associate AIPP (<strong>Australian</strong> Institute <strong>of</strong><br />

Pr<strong>of</strong>essional Photographers) with over 30 years experience<br />

in various advertising, corporate and government projects;<br />

previously (for eleven years) inaugural manager <strong>of</strong> the<br />

photographidmultimedia unit at the Powerhouse Museum<br />

in Sydney; Drummoyne NSW 2047; T: 02 9181 1188<br />

M: 0411 107744; E: greg@gregpiper.com.au<br />

www.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><br />

personal customer service. Riverview, Sydney NSW<br />

T: 0432288016<br />

E: paul.symons@straightshooterdigital.com.au<br />

'WV'MJ.straightshaaterdigital.com.au<br />



Affordable. designed for structural integrity. lightweight;<br />

also for hire. Roger Fenton, St Ives NSW<br />

T: 02 94888628; F: 02 9440 1212; M: 0417 443 4 14<br />


HOT TO POT WORKSHOPS at Moonshill, Tarago<br />

(nr. Goulburn)<br />

4 September <strong>2011</strong> (Sun) - Fibre in Clay - 1 day workshop,<br />

construdion with additions <strong>of</strong> paper and more. S88; 1, 2 &<br />

3 October <strong>2011</strong> (Sat, Sun. Mon) - Studio Open Days, free,<br />

drop in; 13 <strong>No</strong>vember <strong>2011</strong> (Sun) - Paper Th in Slabs - one<br />

day workshop, fine porcelain slab construction, S88; this<br />

workshop to be repeated on 17 <strong>No</strong>vember (Thurs). 800kings<br />

are essential for workshops.<br />

Contact Jane TfF : 02 61610806; E: janecrick@dodo.com.au;<br />

lNWW.janecrick.netfirms.com<br />


Classes for beginners to advanced with Gary Healey<br />

day/projects chosen to suit skill levels; Balvvyn, Victoria<br />

TfF : 03 9816 3012; E: ashglazes@gmail.com<br />


<strong>Ceramics</strong> classes, day & evening, Monday to Friday, weekend<br />

& holiday workshops; Teaching artists: Barbara Campbell-Alien,<br />

Kwi Rak Choung & Petra Svoboda. Beginners and<br />

advanced students wekome. Workshop Arts Centre, 33<br />

laurel Street, Willoughby NSW 2068; T: 02 9958 6540<br />

E: admin@Workshoparts.org.au; l/!/VIIW.warkshoparts.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 \I\MIW.clayvvorkers.com.au.<br />

Cnr SI Johns Rd and SI Johns Rd Glebe NSW 2037<br />

TfF: 02 9692 9717; >Wffl.dayworkers.com.au<br />


SMALLpieces<br />

SMAlLpieces is a Melbourne retail and gallery space selling<br />

contemporary <strong>Australian</strong> ceramics. <strong>The</strong> work in SMALlpieces<br />

is from emerging and established practitioners, <strong>of</strong> high<br />

quality and broad price range. Items include jewellery,<br />

vessels and sculptures; 142 - 144 Weston St, Brunswick East<br />

VIC 3057; E: smallpieces@bigpond.com<br />

WINW.northcotepottery.com.au<br />



<strong>The</strong> Diploma <strong>of</strong> <strong>Ceramics</strong> is a skills-based (ourse 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 strategies, provide students with<br />

a solid foundation trom which they can build careers as<br />

independent arts practitioners. Contact Judith Roberts,<br />

T: 03 9212 5398; E: judllh.roberts@chisholm.edu.au<br />


Holmesglen (hadstone 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. OUf 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 9S64 1942; >Wffl.holmesglen.edu.au<br />


<strong>The</strong> Newcastle Art School campus <strong>of</strong>fers DIploma and<br />

CertifICate IV, fuJI 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 cultura! 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. Honours 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, T: 03 5444 7217<br />

E: a.conway@latrobe.edu.au<br />


BFA <strong>Ceramics</strong> is <strong>of</strong>fered 3 years full time; BFA Honours - 1<br />

year part time; MFA part time or full time. Public Programs<br />

- Summer School 2012: 9-13 January 2012 - A Week<br />

on the Wheel with Cameron Williams. Semester 2 Short<br />

Courses: Saturdays, 1 Dam - 4pm, 6 sessions commencing<br />

18 <strong>July</strong>: Wheel wilh Kwi Rak Choung, Handbuilding with<br />

Toni Warburton. <strong>The</strong> <strong>Ceramics</strong> Dept maintains an artist in<br />

residence program, international exchanges and viSiting art·<br />

isis. Contact Merran Esson, T:02 9339 8630<br />

E: merran.esson@det.nsw.edu.au; WNW.nas.edu.au<br />

Forbes St, Darlinghurst.<br />


Classifieds<br />


Introducing a new course in 2012: Object Practice ­<br />

Contemporary 3D concepts in <strong>Ceramics</strong>, Gold & Silversmithing,<br />

and hybrid object making; SA Fine Art (full time);<br />

Post Graduate Studies by Research and Coursework (Fulltime<br />

and part-time); contact Sally Cleary, Studio<br />

Co-ordinator, T: 03 9925 3858; E: sally.cleary@rmit.eou.au;<br />

\NWIN.rmit.edu.aulart<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 <strong>No</strong>rthern 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 />

lNWVII.nsi.lafensw.edu.au<br />


Certificate and Diploma courses in ceramics - full and<br />

part-time attendance; now <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 />

VoNrIW.sit.nsw.edu,aulceramic!Jgymea<br />

Contributions on aU aspects<br />

<strong>of</strong> <strong>Australian</strong> ceramics are<br />

welcome.<br />

Written ContributIono<br />

We prefer articles to be<br />

supplied digitally on a disc or<br />

by email.<br />



Develop your ceramics practice at<br />

Australia's longest continuing art school<br />

with a degree or short course that will<br />

engage and inspire you. <strong>The</strong> <strong>Ceramics</strong><br />

Department is one <strong>of</strong> the best equipped<br />

in Australia and maintains a vibrant<br />

enhancement program including artist-inresidence,<br />

international exchanges and<br />

visiting artists to provide an excellent<br />

environment for developing individual work<br />

through specialisation .<br />

To work creatively with clay is to play with<br />

the elements; earth, fire, air and water<br />

in combination with intellectual and<br />

practical skills.<br />


Three years full-time<br />


(CERAM ICS) One year full-time<br />


(CERAMICS) part-time or full-time<br />


Semester Two: Commencing 18 <strong>July</strong> <strong>2011</strong><br />

Summer School: 9-13 January 2012<br />


Merran Esson, Subject Leader - <strong>Ceramics</strong><br />

(02) 9339 8744 • enquiries@nas.edu.au<br />


i ~' ® '6 NSW 2010 AUSTRALIA<br />

. ~"\. :- T (61 2) 9339 8744 www.nos .edu .ou<br />

'A#" CRICOS Prov ider Code 03197B

Hot to Pot<br />


Full details available at<br />

www.janecrlck.netflrms.com<br />

Or phone (02) 6161 0806<br />

Woodrow SK130C 6kw: Among<br />

the largest single phase kilns<br />

made by Woodrow, it will fire<br />

to 1280VC. Owned by an amateur potter, the kiln has<br />

had very little use and is in top condition. Controller is<br />

a mUlti-stage unit with soak facilities at each stage; Size<br />

(out) w 755/d 780/h 905 + legs & (in) w 4<strong>50</strong>/d 4<strong>50</strong>jh<br />

640. For construction details go to www.kilns.com.au;<br />

$37<strong>50</strong> ana.<br />

Kazegama Kiln : Believed unique in Australia, this fully<br />

towable, trailer-mounted kiln is based on a design<br />

developed in USA (see www.kazegamas.com). <strong>The</strong> kiln<br />

was demonstrated at the Sturt Woodfire 08. Built with<br />

four large end gas burners {fires easily to 1300VC) at one<br />

end and a chimney at the other, ports allow wood ash<br />

(or oxides) to be blown in and distributed over the pots<br />

by the blast from the burners. <strong>The</strong> kiln with insulation<br />

by Steve Harrison at Hot and Sticky, fires easily to<br />

stoneware temperatures; Four 4S0)( 4<strong>50</strong> shelves are<br />

used for each pot layer; $4000 ana. Further info from<br />

0418257 330; located In the Southern Highla nds, NSW<br />

COLOURS Rockwood Pigments, Cesco,<br />

Walker <strong>Ceramics</strong>, Clayworks, Deco,<br />

Chrysanthos CLAYS Bendigo , Bennetts,<br />

Blackwattle, Clayworks, Feeneys, Keanes,<br />

<strong>No</strong>rthcote, Walkers EQUIPMENT extruders,<br />



PTY LTD<br />

wheels, slab ro liers,<br />

ACCESSORIES Brushes, corks,<br />

kiln shelves, etc MATERIALS<br />

and more GLAZES Powder and<br />

Clay tools, Kemper, Giffin Grip and UdqlsiSteor.<br />


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 Technology<br />

Raku & Woodfiring<br />

Why not enquire about our new Master Classes!<br />

www.sit.nsw.edu.au/ceramics/gymea<br />


DESIGN<br />

STUDIO<br />

Amanda Middleton, Cert III, Ceramic Design Studio<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 />

Catherine.Fogarty@det.nsw.edu.au<br />

Photography: Catherine Fogarty<br />

TAFEl •<br />

Sutherland<br />

Colleoe<br />


quality pottery supplies and services<br />

<strong>No</strong>rthcote Pottery Supplies Pty Ltd<br />

142 - 144 Weston Street<br />

Brunswick East 3057<br />

(PH) 0393873911<br />


Newcastle Art School<br />

Faculty <strong>of</strong> Creative Industries<br />

OIIering Diploma and Certificate N in <strong>Ceramics</strong><br />

Full-time and Part-time options available<br />

Holmesglen<br />

Artl"t Susan Frankel<br />

T_<br />

rCll'''''''~c::ontact<br />

JohnS-<br />

Hoed Cf88Iive 'nduslrieo F_<br />

02 66230218<br />

john.-...o--.odu ...<br />


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sandra black<br />

louise boscacci<br />

alison (milyika) carroll<br />

janet deboos<br />

pippin drysdale<br />

bronwyn kemp<br />

mitsuo shoji<br />

gerry wedd<br />

carol williams<br />

sabbia gallery<br />

www.sobbiogollery.com<br />

more Rd, Poddington, NSW, 202 1, AUSTRALIA<br />

61 2 9361 6448 . gollery@sobbiogaliery.com<br />

Tuesday - Friday 110m to 6pm, Saturday 110m - 4pm<br />

Alison tMllyiko) Corrol!, Minyma Kutjoro (detoit). <strong>2011</strong>, terrocotto form, with terra sigillato,<br />

slips and sgr<strong>of</strong>fito, 69.5 h x 15.5cm d. Photo ANU Photography

NEW <strong>No</strong>.3<br />

full-sized er!!onomic action pedal<br />

I IZhp motor. 13" wheelhead<br />

0 ,' -<br />

. ,<br />

NEW <strong>No</strong>.3<br />

stainless steel body option<br />

cliP-On work tables and seat also available<br />

venco<br />

\NVVvv _ vcnco . co~ au<br />


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Join <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association<br />

Facebook page here:<br />

http://tinyurl.com / tacafacebook<br />

i:J Like<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 turn 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 />


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

<strong>Australian</strong> ; ~<br />

Cerami<br />

Directo<br />


For information about the <strong>Australian</strong> <strong>Ceramics</strong> Directory go to:<br />

http://tinyurl.com/acdirectory<br />

<strong>Ceramics</strong><br />

photograph.t:J<br />

all Images taken<br />

are prepared for<br />

web and print<br />

Paul Symons<br />

0432288016<br />

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 NeedsGallery<br />

Delivery to your door<br />

Potters Needs is operated by<br />

Victoria and Ian <strong>The</strong>yers<br />

Potters<br />

Needs<br />


Specialist ceramics<br />

training facilities<br />

TAFE NSW - <strong>No</strong>rthern 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 which are<br />

available part-time, full-time,<br />

day or evening.<br />

<strong>The</strong> facilities 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 Ill, II/, Diploma and Advanced Diploma<br />

> NSI's open studio practice provides access to the NSI studios<br />

and facilities so you can improve your skills by developing<br />

your own work.<br />

Hornsby College<br />

205 Pacific Highway, Hornsby NSW 2077<br />

<strong>No</strong>rthern 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.tafensw.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 />

SK170BC<br />

New MiniFire Plus<br />

from $1,815<br />

Manufacture, Sales, Service & Spares<br />

Digital Controllers, Kiln Furniture & Replacement Elements<br />

PO Box 596 Revesby NSW 2212 Showroom: 31 · 33 Hoskins Ave, Bankstown NSW 2200<br />

T: (021 9790 27 17 F: (02) 9708 4875 E: sales@kilns.com.au W: www kilns corn .1ll<br />


THE<br />


stories in ceramics<br />

<strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association's Biennial Exhibition <strong>2011</strong><br />

Man ly Art Gallery & Museum<br />

2 December <strong>2011</strong> - 22 January 2012<br />

Curator: Gerry Wedd<br />

Julie Bartholomew, Mollie Bosworth, Deborah Burdett, Barbara Campbell-Allen. Kris Coad, Steve Davies<br />

Terry Davies, Trisha Dean, lynda Draper, Helen Earl, Fiona Fell, Ashley Fiona, Honor Freeman, Shannon<br />

Garson Amanda Hale, Christopher Headley, Mary lou Hogarth. Jan Howlin, Marianne Huhn, liz low<br />

Janet Mansfield, Pru Morrison, Mirta Ouro, Robyn Phelan, Amanda Shelsher and Dee Taylor-Graham<br />


Trudie Alfred (1922 -<br />

2010)' was a wellknown<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> AustraLian <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 career in the field<br />

<strong>of</strong> ceramics.<br />

Valued at up to $4000 + 1 year membership <strong>of</strong> TACA . open<br />

to students enrolled in their second or subsequent year <strong>of</strong> a<br />

ceramic program' selection panel <strong>of</strong> three <strong>Australian</strong> ceramic<br />

artists from different states' mu st be currently enrolled at time<br />

<strong>of</strong> scholarship award . open to <strong>Australian</strong> citizens or those<br />

with permanent residency selection criteria: academic<br />

achievement · quality <strong>of</strong> ceramic work, rat ionale for funding<br />

not previously received th is scholarship written report<br />

required at end <strong>of</strong> scholarship period<br />

Successful applicants will be notified late <strong>No</strong> vember <strong>2011</strong> . Scholarships will be<br />

awarded at the c losing ceremo ny <strong>of</strong> the PROmotion exhibition, 22 January 2012<br />

at Manly Art Gallery and Mu seum .<br />

.. see the tribute to Trudie Alfred in <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>,<br />

VoL 49/3, <strong>No</strong>vember 2010, pages 10-11

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Feeneys<br />

Clays<br />

WALKER<br />

~<br />

Clays Glazes Colours<br />

Cesca<br />

Glazes & Colours<br />

Walker White Earthenware<br />

Greg Daly lustre-glazed vase<br />

WWoN gregda!y (om au<br />

Service and Supplies<br />

03 8761 6322 1800 692 529<br />


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