The Journal of Australian Ceramics Vol 50 No 2 July 2011

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Focus: Ceram ics + Utility ----------------------------------------------- Gregory Bonasera, Segmenta Bowl, (in collaboration with Shapeways), 2011, porcela in, h.3.6cm, diam.19cm Photo: courtesy artist Ceramic Innovation Inga Walton considers Gregory Bonasera's design strategy Tucked away behind a typical industrial fa
Focus: Ceramics + Utility Gregory Bonasera studio shot; photo: Paul Barbera, www.wheretheycreate.com to produce any other way. It's difficult to predict where this will go but it's fascinating and exciting." And a little worrisome? Bonasera certainly isn't concerned that he's going to be out of work. " I don't think or hope that this technology will make handmade ceramics redundant, it just offers a new option. I think you'd still need to have a good understanding of ceramics to really exploit the technology, and most industrial designers don't," he said . Despite the concept being in its early stages, Bonasera's first 3D item, the Segmenta Bowl (2011) which he designed in two days, was nonetheless ready in time for exhibition at the International Contemporary Furniture Fair in New York City (14-17 May). "Exposure at such events is important, as it contributes to a profile which people recognise and remember, which in turn contributes to viability, " he remarks. "It also puts me at the coal-face, and it's a great way for me to get direct feedback from people who are likely to buy or specify my work." Bonasera graduated from Monash University in the late 1980s with a BA in ceramic design, specialising in slip-casting, and went straight into a studio situation making metal furniture, primarily in stainless steel. "I have always produced work to sell, whether it be bespoke pieces to order or batch-produced products. I rarely exhibit my work because I'm a designer, not a fine artist, or a potter necessarily. In Europe there are design galleries but, unfortunately, we don't really have the same here." Bonasera's formative years were critical in terms of developing and responding to his creative impulses, with the opportunity and encouragement to pursue his own projects. His father was a traditionally trained upholsterer and maker and restorer of furniture, who worked firstly for Fleur before branching out on his own. "I spent a great deal of my childhood in my father's furniture workshop where he often restored very decorative antique chairs. I thought many of the pieces were so beautiful, but so often not entirely comfortable or functional; they were, however, relevant and appropriate for THE JOURNAL OF AUSTRALIAN CERAMICS IUlY 2011 4'
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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 and 30: Focus : Ceramics + Utility Malcolm
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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
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Page 49 and 50: Focus: Ceramics + Utility 14 Mieke
Page 51 and 52: Focus : Ceramics + Utility 1 Seven
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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
Page 81 and 82: Process + Meaning Alison (Milyika )
Page 83 and 84: Works hop left: Malina explaining g
Page 85 and 86: Workshop three, as the two phoenix
Page 87 and 88: Katherine's garden studio; work in
Page 89 and 90: Inside My Studio Katherine's stonew
Page 91 and 92: 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
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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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