The Journal of Australian Ceramics Vol 50 No 2 July 2011

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Focus: Ceramics + Utility --------- -- -- -- - Malcolm Greenwood Head models, 2010 porcelain, 1300'( slips, ash glaze, h. gcm w.12cm. d. 14cm Photo: Steve Cummings years, to develop the shape, and the form continues to change through years of production. Fifteen years ago my teapot form was very spherical, then it got wider and flatter. As I began to use it regularly myself, I started thinking about it a bit more and now, ergonomically, the newer shape works really well; it pours perfectly and looks good. Being both a designer and a maker, I have that ability to think about a piece, make it, and if it doesn't work I can go back and make it again. Ceramics is such an old craft. For centuries we have been digging clay out of the ground, modelling it with our hands or simple tools and firing it, so not much has changed. And I like that idea of using those first principles; maybe it keeps me more in touch with the materials and the processes. I've been making production ware every day for the last twenty years or so, and the improvement in my skill level is phenomenal. Making bigger or more complex pieces is now relatively easy because I don't really have to think much about technique. I have always been a practical person, and my engineering background has impacted my interest in a pragmatic approach to ceramics. I have struggled to get away from the symmetry of engineering and it's only in recent years that more freedom and fluidity has come into my work - I think that freedom was enabled by the mastering of perfect symmetry in the first place. My engineering experience has allowed me to think in three dimensions and to approach production work effiCiently, both critical to my designing and making process. I recently began work on an architectural project which involved the development of an installation of heads. The 9rief required a series of large-scale forms so I was challenged by the lack of available space in my small workshop and by the need to move outside the techniques I prefer. The ideas were developed over several months as I made observations (particularly during recent travels Japan China and Tibet), contemplated possible forms and how they would sit with my pragmatic approach. All that prior experience meant that when I sat down to make the heads, the designs simply worked. I really enjoy working with chefs, interior deSigners, architects and other clients who are engaged in the designing and making process. When you work with people who are just focused on price, the process is really awful. Clients can have very different approaches when communicating their ideas to me. Industrial designer Andrew Simpson came in with a technical drawing, and with my engineering background, I could easily read that drawing and convert it to a finished product. It's the collaborative process I really enjoy. It's great when the new generations come in with a really new approach and we can resolve the product, it's really stimulating. 28 THE JOURNAL OF AUSTRALIAN CERAMICS IUlY 2011
Focus : Ceramics + Utility l r • r r ICIIU • ;~Rf::'.=.,z,C·.:rj.-; .sa- ,_ .. '-\E?til'"-"-- Top: Vert Design, Rice Cup final drawings, 2006, techntcal drawings Above: Andrew Simpson. Vert Design, Rice Cup, 2010, porcelain, 13000(, matt black and white glazes, h.8cm Photo: Vert Design THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2011 29
Page 1 and 2: THE JOURNAL OF australian cer • 5
Page 3 and 4: Contents Volume SO/2 July 2011 S16
Page 5 and 6: Contributors Carole Lander is a fre
Page 7: Australian Ceramics Directory Austr
Page 13 and 14: Tributes , ernard Sahm. Fingers. 19
Page 15 and 16: Tributes Vale Ian Currie 1941 - 201
Page 17 and 18: Perspective Wedgwood. Cuckoo Range:
Page 19 and 20: Wedgwood, Black Jasper Honey Pot, m
Page 21 and 22: Perspective Wedgwood, Cuckoo Range:
Page 23 and 24: Focus: Ceram ics + Utility Internat
Page 25 and 26: Focus: Ceramics + Utility bowls and
Page 27 and 28: Focus: Ceramics + Utility Simon lev
Page 29: Focus : Ceramics + Utility Malcolm
Page 33 and 34: Focus : Ceram ics + Utility Malcolm
Page 35 and 36: Focus: Ceramics + Utility Green and
Page 37 and 38: Focus: Ceramics + Utility Left: Spo
Page 39 and 40: Focus: Ceramics + Utility David Edm
Page 41 and 42: Focus: Ceramics + Utility 1 Cup, wh
Page 43 and 44: Focus: Ceramics + Utility Gregory B
Page 47 and 48: Focus ; Ceramics + Utility radial r
Page 49 and 50: Focus: Ceramics + Utility 14 Mieke
Page 51 and 52: Focus : Ceramics + Utility 1 Seven
Page 53 and 54: Focus : Ceramics + Utility Above: S
Page 55 and 56: Promot ion Contemporary Ceramics at
Page 57 and 58: Promotion Adam Geczy and Jan Guy, F
Page 59 and 60: National Education Pictorial Survey
Page 73 and 74: ACT 2 012 www.australianceramicstri
Page 75 and 76: View 3 Kirk. WInter 4 GYllYn Hansse
Page 77 and 78: Process + Meaning Mark Making Sarah
Page 79 and 80: Mitsuo Shoji, Bottle, 20 II porcela
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Process + Meaning Alison (Milyika )
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Works hop left: Malina explaining g
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Workshop three, as the two phoenix
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Katherine's garden studio; work in
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Inside My Studio Katherine's stonew
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Education a prototype fibre kiln us
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Events: Woodfire Ta smania 2011 Ree
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Community 1977: Potters in Australi
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Com mun ity Thoughts for the future
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Potters Marks Potters Marks Anne Br
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Arch ive: Pottery in Australia, Vol
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Well Read Slab Techniques by Ian Ma
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Australia Wide July to 18 September
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Australia Wide Corporation. and Cro
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Become a subscriber a'iJ's'tralian
Page 111 and 112:
Call for papers THE JOURNAL OF aust
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Back Issues aiiSiralian ceramics au
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Classifieds PHOTOGRAPHY GREG PIPER
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CERAMICS Develop your ceramics prac
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Studio-based courses Full and part-
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Newcastle Art School Faculty of Cre
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NEW No.3 full-sized er!!onomic acti
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Join the Australian Ceramics Direct
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woodrow kilns Australian Made Woodr
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Trudie Alfred (1922 - 2010)' was a
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The Journal of Australian Ceramics Vol 50 No 2 July 2011

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