The Journal of Australian Ceramics Vol 50 No 3 November 2011

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alian ceramics<br />

<strong>50</strong>/3 <strong>No</strong>vember <strong>2011</strong> $16

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Contents<br />

<strong>Vol</strong>ume <strong>50</strong>/3<br />

<strong>No</strong>vember <strong>2011</strong><br />

S16<br />

Cover<br />

Honor Freeman<br />

Scrapings + Gratings, 20 11<br />

hand bUilt porcelain<br />

aluminium grater, h.l6cm<br />

<strong>The</strong> Narrative Knot<br />

Mln~ An Galle'Y<br />

December <strong>2011</strong><br />

Photo: Sandy Edwards<br />

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

Dates <strong>of</strong> PublicatJon<br />

1 April. 17 Juty, 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 720124<br />

F: 02 9369 3742<br />

mail@australianceramJ(5.com<br />

www.austrahanceramics.com<br />

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

ISSN 1449-27SX<br />

Editor<br />

Vicki Grima<br />

Marketing and Promotions<br />

Carol Fraaek<br />

Design<br />

Astrid Wehling<br />

www.astridwehling.com.au<br />

Subscriptions Manager<br />

Ashley McHutchlSOn<br />

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

Suzanne Dean<br />

Australia Wide Reports<br />

Please see reports<br />

for contact details<br />

ACT: Jane Crick<br />

NSW: Sue Stewart<br />

OLD Cairns: Lone White<br />

OlD South East: lyn Rogers<br />

OLD Townsville: Sharon Jewell<br />

SA: Kirsten Coelho<br />

lAS: John Watson<br />

VIC; Glenn England<br />

WA: Pauline Mann<br />

Printed by<br />

NeYv'Style Printing Co Pty ltd<br />

4 1 Manchester St, Mile End SA<br />

<strong>50</strong>31 certified to ASlNZS ISO<br />

14001:2004 Environmental<br />

Management Systems. Printed on<br />

Impress Satin (FSC) stock U5tng<br />

100% vegetable-based<br />

process inks.<br />



4 NOW + THEN<br />




10 Mollie Douglas by Karen Weiss<br />

14 Joy Warren by Guy Warren<br />


16 Is it Tomorrow, Today Vivonne Thwaites digs the dirt on Gus Clutterbuck<br />

20 <strong>The</strong> Narrative <strong>of</strong> Place Altair Roelants discusses a collaborative journey<br />

with Belinda Fox and Neville French<br />

26 Tale <strong>of</strong> a Pot<br />

30 Draw Your Own Conclusion Stephen Bowers shares his techniques and<br />

thoughts on drawing<br />

34 Surreal Compositions Danny Lacy looks at the w ork <strong>of</strong> Rob McHaffie<br />

37 A Potter's Tale Damon Moon seleds his favourite ceramics books<br />

42 Material - does it really matter? A report by Janet DeBoos<br />

44 Assumption: Anton Reijnders Siobhan Wall reports on an exhibition<br />

46 Vale Talley Valley Anney Ray Cavill and Lucille <strong>No</strong>bleza on a kiln 's<br />

passing<br />

48 Love, loss, Masculinity and the Absurdity <strong>of</strong> the Human Condition<br />

A brief overview <strong>of</strong> the personal narratives <strong>of</strong> Todd Fuller by Megan Fizell<br />

49 <strong>The</strong> Narrative Knot: stories in ceramics<br />


65 Hyperclay: Contemporary <strong>Ceramics</strong> An overview by Danielle Robson<br />


69 WORKSHOP: Watiku Workshop. Minyma Wiya! (Men's Workshop.<br />

<strong>No</strong> Women!) Jody Lee discusses the inaugural men's workshop at<br />

Ernabella Arts<br />

72 VIEW 1: White Gums and Ramoxes Damon Moon reviews ceramics by<br />

Merric and Arthur Boyd from the Bundanon Trust Colledion<br />

76 VIEW 2: Two Communities - the Language <strong>of</strong> Clay Cathy Franzi<br />

reports on an exhibition by Indigenous artists at Strathnairn<br />

78 PROCESS + MEANING: One Journey Stephanie ~ut r idge Field discusses<br />

work and clay with Kim Schoenberger<br />

82 INSIDE MY STUDIO: In Conversation with Ian Clare<br />

86 EDUCATION: Big Hands little Hands Nicole Lister reports on her<br />

residency at Gladstone Public School<br />

90 COMMUNITY: Education Without Boundaries Elizabeth Rowe reports<br />

on <strong>50</strong> years at the Workshop Art Centre<br />

94 EVENT: <strong>Australian</strong> <strong>Ceramics</strong> Triennale 2012: Subversive Clay<br />

Sophia Phillips discusses the theme <strong>of</strong> the upcoming Triennale<br />

98 WEDGE: "Plinth" Phillip - please don't take me to the tip!<br />

Comment by Gary Healey<br />


100 ARCHIVE: Pottery in Australia, <strong>Vol</strong> 1, <strong>No</strong> 1; Editorial by Wanda Garnsey<br />

101 WEll READ: <strong>The</strong> Art <strong>of</strong> Woodfire: A Contemporary <strong>Ceramics</strong> Pradice,<br />

by Robert Sanderson<br />


r\' RECYCLED<br />

Paper<br />

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..J.",J<br />


Ed itor: Vicki Gri ma<br />

Somchai Charoen. (ath O'Gorman.<br />

Vicki Grima, Josie Cavallaro and<br />

Aedan Harris at the opening <strong>of</strong><br />

Offerings. Kerrie Lowe Gallery,<br />

October <strong>2011</strong> .<br />

In preparing <strong>The</strong> Narrative<br />

Knot catalogue, which starts<br />

on page 49 <strong>of</strong> this issue, I<br />

assembled a visual image<br />

<strong>of</strong> how this exhibition may<br />

look when it comes together under Gerry Wedd's curatorship. But, as stimulating as images can be,<br />

seeing work in front <strong>of</strong> us, and being able to touch it, is very different to what we see on a page in<br />

a magazine. That sense <strong>of</strong> balance, fragility and construction is best experienced when we can see<br />

the work in front <strong>of</strong> us: see the scale; touch it; walk around it; look into it. I hope you will be able to<br />

make it to Sydney sometime over the summer months to see this and our other celebratory exhibition,<br />

PROmotion, at Manly Art Gallery and Museum (MAGM). Curator Dee Taylor-Graham has chosen nine<br />

emerging artists who have featured in the <strong>Journal</strong> in the last ten years, and together with work from<br />

the MAGM collection she will weave a story <strong>of</strong> the <strong>50</strong> years <strong>of</strong> publication <strong>of</strong> the magazine first called<br />

Pottery in Australia and now known as JAC - <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>. It promises to be<br />

a big "double bunger" <strong>of</strong> exhibitions at Manly in December <strong>2011</strong> and January 2012 .<br />

Exciting times are ahead in 2012 for the <strong>Journal</strong> and the Association as we celebrate <strong>50</strong> years <strong>of</strong><br />

continuous publication <strong>of</strong> the magazine. On Sunday 22 January 2012 (the closing <strong>of</strong> the two exhibitions<br />

at Manly), we will kick <strong>of</strong>f our anniversary year by awarding the first <strong>of</strong> the Trudie Alfred Bequest<br />

Ceramic Scholarships. Thirty-four ceramics students from around Australia are in the running for five<br />

$4000 scholarships. A hot afternoon in Manly is forecast!<br />

<strong>The</strong> statement below appeared in <strong>Vol</strong> 1, <strong>No</strong> 1 <strong>of</strong> Pottery in Australia as part <strong>of</strong> Wanda Garnsey's<br />

editorial:<br />

Acknowledging the stimulus <strong>of</strong> Bernard Leach's personality by publishing this edition<br />

following his visit to Sydney, we would yet stress the fact that the potters themselves are the<br />

mainstay <strong>of</strong> this and any future production. We depend on the support <strong>of</strong> our subscribers<br />

and the stimulus <strong>of</strong> our contributors. With this encouragement the journal may expand in<br />

scope and perform a genuine service to potters.<br />

Tell me ... have we succeeded and where to for the next <strong>50</strong> years? You are invited to contribute your<br />

comment as a loyal subscriber, contributor andlor reader, to the next issue. See page 100 for details.<br />

I look forward to publishing your brickbats and bouquets in the next issue, <strong>Vol</strong> 51 , <strong>No</strong> 1,<br />

our <strong>50</strong>th Anniversary special edition.<br />

~.<br />


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Exhibitions<br />

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Manly Art Gallery & Museum.<br />

<strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association, originally<br />

the Potters SOCiety <strong>of</strong> Australia, was established in<br />

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<strong>Journal</strong><br />

<strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong> is a 128 page, full<br />

colour, contemporary ceramics journal. Published 3 times<br />

per year (April, July and <strong>No</strong>vember), it contains artist pr<strong>of</strong>iles,<br />

commentary and critical essays, exhibition and book reviews,<br />

information on tertiary ceramic education, workshop reports,<br />

technical advice, suppliers, new products, exhibition and<br />

gallery listings.<br />

It is an essential resource for practising ceramicists,<br />

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<strong>Australian</strong> ceramics.<br />

• see back <strong>of</strong> this page for more information<br />

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

Since 2002 the <strong>Australian</strong> <strong>Ceramics</strong> Directory (ACD) has<br />

been an important initiative <strong>of</strong> <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong><br />

Association and provides an international and national<br />

reference <strong>of</strong> <strong>Australian</strong> ceramic artists for interior designers,<br />

galleries, collectors, art administrators, curators, students<br />

and international visitors,<br />

<strong>The</strong> ACD allows ceramicists, craftspeople, galleries and<br />

organisations to have a pr<strong>of</strong>essional presence and wider<br />

exposure online. New CMS technology makes it possible<br />

for participants to self-manage their entry, updating<br />

information and images whenever necessary. <strong>The</strong> ability<br />

to link to other websites is also available. Entry is free to<br />

members <strong>of</strong> TACA, with non-members charged a small fee.<br />

Name<br />

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Phone/Fax<br />

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Prices are current as at 1 April <strong>2011</strong>, and are subject<br />

to change without notice.

Contributors<br />

Danny Lacy<br />

Danny Lacy is Curator at Shepparton Art<br />

Museum. Current curatorial projects in<br />

development include an iteration <strong>of</strong> Tom<br />

Nicholson and Raafat Ishak's Proposition for<br />

a Banner March and Black Cube Hot Air<br />

Balloon project, and a major Sam Jinks solo<br />

exhibition to be presented at Shepparton Art<br />

Museum in 2012.<br />

www.sheppartonartmuseum.com.au<br />

See pages 34-36<br />

Nicole lister<br />

Nicole Lister trained as a visual arts teacher<br />

and later as a ceramicist. Most recently she<br />

has utilised her experience as a pr<strong>of</strong>essional<br />

artist and teacher to complete a residency<br />

at her local primary school. Throughout<br />

her career, Nicole has advocated for quality<br />

ceramics education at all levels. She hopes<br />

she has inspired the youngsters.<br />

E: ceramics@nicolelister,com.au<br />

www.nicolelister.com.au<br />

See pages 86- 89<br />

Lucille <strong>No</strong>bleza<br />

<strong>The</strong> joy <strong>of</strong> storytelling through photography<br />

and a lifetime knowledge <strong>of</strong> ceramics is<br />

taking Lucille <strong>No</strong>bleza around the world<br />

capturing and exhibiting images <strong>of</strong> artists<br />

and their process. <strong>The</strong>se energetic works<br />

have just completed a tour <strong>of</strong> Holland,<br />

Poland Italy and China.<br />

E: lucille.nobleza@gmail.com<br />

See pages 46-47<br />

Stephanie Outridge Field<br />

<strong>The</strong>re is nothing I like better than clay,<br />

unless it is food and clay in combination!<br />

I like looking at other people's work. I like<br />

using clay to make tangible, possibilities<br />

you can only dream Ofl I like touching clay,<br />

writing about it, and talking about it with all<br />

and sundry.<br />

E: outridgefield@iinet,net.au<br />

M: 0417 886 185<br />

See pages 78-81<br />


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

Congratulations to Cathy Keys from<br />

Queensland. Cathy has been successful in<br />

receiving an Arts Queensland Development<br />

and Presentation Grant to develop a website to<br />

exhibit her handbuilt ceramics.<br />

Correction: Issue <strong>50</strong>12, page 8: Gary Healey's<br />

work. <strong>The</strong> details <strong>of</strong> his work Untitled featured<br />

on page 8 <strong>of</strong> our last edition (<strong>50</strong>/2) were<br />

incorrect. <strong>The</strong> height should have been: tallest,<br />

39cm (not 19cm) with peach bloom glaze.<br />

Big Hands, Little Hands: A Macleay Valley<br />

school, which received extra funding to conduct<br />

an Artist-in-Residence program, is displaying the<br />

fruits <strong>of</strong> its labour. Go to this link to watch the<br />

video <strong>of</strong> the project on NBN TV: http://tinyurl.<br />

comJIisternbntv. Read about Nicole Lister's<br />

residency at Gladstone Public School on pages<br />

86- 89.<br />

Hints section for advice on how to successfully<br />

submit the online application. Entries close on<br />

1 February 2012. With $55,000 in prize money,<br />

the SMFACA cements its place as the premier<br />

<strong>Australian</strong>/International acquisitive ceramic art<br />

award. Three artists will be shortlisted in each<br />

category: <strong>Australian</strong>, International and Emerging<br />

<strong>Australian</strong>. One recipient artist will be chosen<br />

from the shortlisted artists in each category and<br />

receive a significant stipend to produce a body<br />

<strong>of</strong> work for exhibition on the understanding<br />

that the gallery will select part <strong>of</strong> the work for<br />

its collection. <strong>The</strong>re will be six months between<br />

the announcement <strong>of</strong> award recipients and the<br />

delivery <strong>of</strong> works to the galler<br />

<strong>The</strong> Potters Bed and Breakfast Program is<br />

a service providing opportunities for potters to<br />

visit other potters while travelling. It promotes<br />

interaction among potters and fosters personal<br />

connections between potters from all over<br />

the world. Over 600 potters have joined from<br />

twenty different countries; details: http://<br />

robertcomptonpottery.comlB&B.Discription.htm<br />

Vale: Mary (Mollie) Douglas, potter<br />

Died 27 June <strong>2011</strong> in Sydney, aged 91<br />

Vale: Joy Warren, potter<br />

Died 19 July <strong>2011</strong> in Sydney, aged 90<br />

Vale: Heaton Pittendreigh, potter<br />

Died 25 August <strong>2011</strong>, aged 63<br />

Entries for the 2012 Sidney Myer Fund<br />

<strong>Australian</strong> Ceramic Award (SMFACA) open on<br />

2 <strong>No</strong>vember <strong>2011</strong>. Entries can only be subm itted<br />

via the online entry form. Read the Helpful<br />

Vale: Len Castle, potter<br />

Died September <strong>2011</strong> in New Zealand<br />

aged 86<br />


<strong>Australian</strong> Ceram ics Directory<br />

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

Add Entry<br />

Cathy Franzj<br />

Watson ACT 2602<br />

E' cat hy.iranzi@anu.edu.au<br />

<strong>The</strong> diversity <strong>of</strong> shapes, textures and form in <strong>Australian</strong><br />

plants and the history <strong>of</strong> botanical illustration provide a<br />

rich source <strong>of</strong> material for my work. I have developed<br />

a linocut style <strong>of</strong> carving the s<strong>of</strong>t clay surface based<br />

on printmaking technique and design. Currently I am<br />

investigating the use <strong>of</strong> <strong>Australian</strong> plants in ceramic<br />

decoration as a reflection <strong>of</strong> the cultural and scientific<br />

perceptions and understanding <strong>of</strong> the environment.<br />

Teaching is a valuable part <strong>of</strong> my practice. I am currently<br />

undertaking higher degree research at ANU .<br />

Aedan Harris<br />

Berry NSW 2535<br />

E- aedanharris@hotmail.com<br />

I have always had a fascination with nature and the<br />

extraordinary capabilities <strong>of</strong> animal and plant life. <strong>The</strong><br />

design and the inventiveness <strong>of</strong> the evolutionary process<br />

provide constant stimulation for my artwork. I have been<br />

a ceramic artist for about 14 years, working in both<br />

sculpture and functional forms. I am a part-time teacher<br />

In <strong>Ceramics</strong> & Design at Gymea TAFE, Hornsby TAFE<br />

and Nepean TAFE. I have lived and worked in Japan and<br />

France exploring their ceramic traditions, lifestyle, culture<br />

and approach to artistic expression .<br />

M irta Ouro<br />

Melbourne VIC 3106<br />

E: mirtaouro@gmail.com<br />

My work developed out <strong>of</strong> discovering, interacting and<br />

playing with common found objects such as rocks,<br />

mud and ordinary household goods. I <strong>of</strong>ten experiment<br />

with cereals, paper c<strong>of</strong>fee filters, kitchen wipes, gauze<br />

and other materials I encounter in my daily activities.<br />

I use various methods <strong>of</strong> building - wheelthrowing,<br />

handbuilding, moulds and slipeasting. I particularly like<br />

working with porcelain and terra sigillata and firing with<br />

saggars. I work from a small studio in my backyard,<br />

finding inspiration in nature and surroundings.<br />

http://australianceramics . com/homeli ndex. phpl Aust -<strong>Ceramics</strong>-Directory I<br />


Tributes<br />

Vale Mollie Douglas 1920-<strong>2011</strong><br />

Hornsby TAFE <strong>Ceramics</strong> Department<br />

September <strong>2011</strong><br />

Hidden behind rows <strong>of</strong> students' lockers<br />

are two pottery wheels. One is a kick wheel<br />

with treadles akin to those found on an old<br />

harmonium. <strong>The</strong> other is an electric wheel<br />

constructed from a car axle and a lawn mower<br />

motor, built for Moll ie Douglas by Mollie's<br />

marine engineer father during wartime.<br />

Mollie Douglas; photo: Margaret Tuckson<br />

Pottery In A ustralia, <strong>Vol</strong> 10, <strong>No</strong> 2, Spring 1971<br />

East Sydney Technical College<br />

February 1939, seven months before the<br />

British Empire declares war. Eighteen year<br />

old Moll ie is living in the quiet rural suburb<br />

<strong>of</strong> Turramurra with her family. Her mother is<br />

unwell; she can't go outside the front gate<br />

without becoming distressed. Her father has<br />

taken early retirement so he can look after her,<br />

but the family doesn't talk about her mother's<br />

illness or understand it. It is on ly many years<br />

later that Mollie realises that her mot her suffered<br />

from agoraphobia.<br />

East Sydney Technical College (ESTC) is a<br />

pleasurable, exciting place to be. With her<br />

drawing skills, Mollie enrolls in the Diploma course in Design and Crafts but by the end <strong>of</strong> her second<br />

year she knows - pottery is what she wants to do. Her pottery teachers are Neville Bunning and then<br />

Miss Irene Landale Beetson, who trained in England . <strong>The</strong>y use only white earthenware, lead glazes<br />

imported from England, and fire in a temperamental kiln built during the First World War. <strong>The</strong>n the<br />

students are taken to see Mr Cooper's private collection <strong>of</strong> Chinese porcelains - for Mollie, a revelation.<br />

"I had never seen stoneware ... the muted glazes <strong>of</strong> the stoneware rea lly appealed to me .<br />

earthenware was rather harsh and ... shiny." Phyllis Shi ll ito, her head teacher, hands this shy, talented<br />

student Bernard Leach's recent publication A Potter's Book to read. Mollie finds it a heady mixture <strong>of</strong><br />

idealism and technology, taking as inspiration the beauty <strong>of</strong> the Chinese pottery she so admired. "I was<br />

sold, once I read that."<br />

<strong>The</strong> War permeates everything, with austerity measures that make many pleasures unpatriotic. "You<br />

almost felt you shou ldn't be an art student, it just seemed wrong. It [being an art student] was an<br />

unproductive thing for the war."<br />

Mollie finishes her Diploma in 1942, awarded Honours and t he meda l. <strong>The</strong> fol lowing year, invited to<br />

teach art at Abbotsleigh, her old school, Moll ie says, " I'd love it." In 1944, she is invited back by Phyllis<br />

Shi ll ito to teach pottery part-time at ESTC.<br />


Tributes<br />

End <strong>of</strong> the War 1945<br />

Demobbed servicemen and servicewomen are <strong>of</strong>fered scholarships through the Commonwealth<br />

Reconstruction Training Scheme. Many are interested in learning crafts, among them pottery. Mollie<br />

stops teaching at Abbotsleigh, preferring to teach adults, and in 1946 increases her teaching hours at<br />

ESTC and establishes a new pottery course at St George Technical College.<br />

Mollie saves her money carefully. With one hundred and sixty pounds, she sets up her own studio,<br />

a small brick garage built in the garden, with her two pottery wheels, tools (many improvised and<br />

handmade), and a new electric kiln. She produces a small quantity <strong>of</strong> finely made earthenware domestic<br />

ware, selling it through Margaret Jaye in her Rowe Street shop in the city, who takes all she can make.<br />

Her striped flower pots with saucer at 7/6 (75 cents) each, sell for 15 sh illings ($1.<strong>50</strong>). " I always make<br />

things that can be used."<br />

In 1948, Mollie has her first group exhibition with Miss Beetson and another student, Lillian Tulloch,<br />

at the David Jones Art Gallery. Her boldly decorated pieces attract attention, including a casserole which<br />

a newspaper critic says, "shines" . In 1949, Margaret Tuckson, who knew Mollie from Abbotsleigh,<br />

becomes one <strong>of</strong> her part-time students at East Sydney Tech., later describing Mollie as a "marvellous<br />

teacher, straight <strong>of</strong>f" .<br />

In 19<strong>50</strong>, Miss Beetson retires and Peter Rushforth is appointed as full-time Head Teacher <strong>of</strong> <strong>Ceramics</strong>.<br />

<strong>The</strong> department expands with more students, space and equipment. Peter and Mollie work together,<br />

sharing an enthusiasm for Bernard Leach's vision and Oriental stoneware. 'We got on very well. It<br />

was nice working w ith someone the same age." <strong>The</strong>y are fellow experimenters and explorers, taking<br />

the students with them as they discover the possibilities <strong>of</strong> <strong>Australian</strong> clays and materials and the<br />

subtle beauties <strong>of</strong> stoneware. <strong>The</strong>y were, as Margaret Tuckson says, "a brilliant combination. Peter<br />

was freedom and ideas and wilder, and Mollie very exact ... and patient." Together they construct a<br />

curriculum for the <strong>Ceramics</strong> Department at a time when individual teachers at TAFEs taught whatever<br />

they wanted to.<br />

In 1953, one evening after hours Mollie and Vera Andrews successfully push the old gas kiln to<br />

12<strong>50</strong>°C to carry out the first stoneware firing at East Sydney Tech . "Peter wasn't sold on stoneware at<br />

this stage, but he said go ahead anyway." Two years later, Mollie acquires her own stoneware electric<br />

kiln and begins to make stoneware, something she has dreamed <strong>of</strong> for a long time. After reducing in<br />

saggars and repeatedly destroying the elements over several years, she eventually acquires an LPG kiln.<br />

From 1954, Mollie takes up teaching full-time at ESTC.<br />

Meanwhile, Peter Rushforth proposes forming a potters' society. Finally, in 1956, Peter, Mollie, Ivan<br />

McMeekin and Ivan Eng lund form the Potters' Society <strong>of</strong> NSW, w ith a determination to make the<br />

public more aware <strong>of</strong> contemporary pottery, to help students, and "to help in any way possible the<br />

future <strong>of</strong> ceramics" . Within a few years it becomes the Potters' Society <strong>of</strong> Australia, with connections in<br />

Melbourne, Brisbane and Western Australia.<br />

<strong>The</strong>ir first exhibition is held in 1958 at the Macquarie Galleries, Sydney, with work by the original four<br />

members and Margaret Tuckson, Marea Gazzard, Gwyn Johns (later Hanssen Pigott), Les Blakebrough<br />

and Wanda Garnsey. Although Mollie is to participate in many group shows, her single one man show is<br />

in 1962 at the Macquarie Galleries, where a critic writes, her" beautiful pots ... gave me great joy" .<br />

In this same year, Wanda Garnsey launches Pottery in Australia (now <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong><br />

<strong>Ceramics</strong>) to which Mollie actively contributes for many years.<br />


Tributes<br />

Mollie Douglas, Teapot<br />

dolomite glaze, h.6"(IS2cm)<br />

Pottery in Australia<br />

<strong>Vol</strong> 6, <strong>No</strong> 1 May 1967<br />

Two years later, as President <strong>of</strong> the PSA, she acts as <strong>Australian</strong> delegate to the First World Congress <strong>of</strong><br />

Craftsmen in New York where she helps plan the formation <strong>of</strong> the World Crafts Council. While overseas<br />

in London, she sees Lucie Ries' work, which she greatly admires, influencing her own design direction.<br />

In 1968, Mollie takes the position <strong>of</strong> Head Teacher <strong>of</strong> Art at St George Technical College, the first<br />

TAFE Head Teacher <strong>of</strong> Art who is not a painter.<br />

In 1976, she accepts the post <strong>of</strong> Acting Head <strong>of</strong> the School <strong>of</strong> Art and Design at ESTC, and all TAFE<br />

colleges, becoming Head in 1977 until she retires in 1979. Affected by arthritis, her output, which has<br />

always been small, diminishes further. Her swansong is receiving the Australia Council $25,000 Emeritus<br />

Award for senior artists.<br />

I have a recording I made <strong>of</strong> an interview with Mollie in 2003. At 83, her voice is bright, clear, incisive.<br />

<strong>The</strong> voice <strong>of</strong> a teacher who, in spite <strong>of</strong> her retirement, has never lost her love <strong>of</strong> teaching or her love <strong>of</strong><br />

ceramics, and is still keenly interested in the most recent work being exhibited.<br />

It seems appropria te that in the 1<strong>50</strong>th year <strong>of</strong> TAFE, we should celebrate the life and ach ievements <strong>of</strong><br />

Mollie Douglas who spent 40 years contributing to TAFE as student, teacher and Head <strong>of</strong> Department.<br />

Vale Mollie Douglas.<br />

Many Thanks to Trisha Dean and Ray Stevenson, <strong>Ceramics</strong> Department Hornsby TAFE,<br />

Margaret Tuckman, Vicki Grima and Grace Cochrane.<br />


Tributes<br />

1 Mollie's box <strong>of</strong> oxides and imported stains<br />

from Wengers, Stoke-on-Trent<br />

2 Wheels bu i ~ by Mollie Douglas' father in 1946<br />

out <strong>of</strong> wood and spare car parts<br />

3 Mollie', marl<<br />

4 A tiny phial <strong>of</strong> orange stain<br />

5 Variety <strong>of</strong> tools made by Mollie and her father from<br />

bakelite, aluminium, bamboo, wood and perspex<br />

All <strong>of</strong> the above items are part <strong>of</strong> Mollie Douglas'<br />

collection held at Hornsby TA FE in Sydney;<br />

photos: Ray Stevenson<br />

References<br />

Douglas, Mothe AudIo mtervtew with K. Weiss 2003<br />

Douglas, M

Tri butes<br />

Joy Warren; photo: courtesy family<br />

Vale Joy Warren 1921-<strong>2011</strong><br />

Dr Joy Warren was a teacher, a potter and an example to all that it is never too late to upgrade your<br />

education. Because her parents had brought her to Australia after high school, Warren had always<br />

regretted not having the opportunity to have a university education.<br />

In her <strong>50</strong>s she redressed that. In 1980, she graduated w ith an honours degree at the University<br />

<strong>of</strong> Sydney. This led to her lecturing in art history and theory for 17 years at the (ollege <strong>of</strong> Fine Arts,<br />

University <strong>of</strong> NSW, and at the Sydney (ollege <strong>of</strong> the Arts.<br />

In her 70s, she took a PhD at the University <strong>of</strong> Wollongong with a thesis tracing the sources <strong>of</strong> much<br />

art imagery through time and across continents. She had always felt that terms such as " minor art" ,<br />

" applied art" and "decorative art" had tended to marginalise art works and preclude their study from<br />

serious art historica l discourse, and the thesis challenged that misconception.<br />


Tri butes<br />

Joyce Carney was born on the small island <strong>of</strong> Wa lney, <strong>of</strong>f the west coast <strong>of</strong> the Lake District, in the<br />

county <strong>of</strong> Cumbria, England .<br />

<strong>The</strong> family had been pressed by a close relative for many years to come to Australia but her parents<br />

resisted until their two children were at school-leaving age.<br />

<strong>The</strong> Carneys finally arrived in Sydney when Joy was 17, just a few weeks before the outbreak <strong>of</strong> war.<br />

She soon had a job as secretary to the advertising manager <strong>of</strong> a firm selling family medicines and, with<br />

an ability to write well and an inquiring mind, graduated through various positions until she became<br />

assistant advertising manager for the big city department store Farmers . In 19<strong>50</strong> she married an artist.<br />

Guy Warren, and they went by ship to Naples and then to London.<br />

Her advertising experience got her a position as a senior copywriter at the leading agency S. H.<br />

Bensons, where she worked on women's accounts - among them the launch <strong>of</strong> Omo and the Guinness<br />

account.<br />

She was told that Guinness was perceived as being a drink for charladies, not sophisticated young<br />

women, and was asked to change that. She said that she had never drunk Guinness so her boss took<br />

her around the corner to the nearest pub. <strong>The</strong> first stout she drank, she hated. <strong>The</strong> second one she<br />

rather liked. <strong>The</strong> third one she liked very much. Her campaign, based on the idea that you might find it<br />

strange at first but stay with it. was a great success.<br />

Warren began evening classes at Camberwell School <strong>of</strong> Art and launched a lifelong passion for the<br />

crahs, ceramics in particular.<br />

Aher the family returned to Sydney in 1959, Warren enrolled for further ceramic studies at East<br />

Sydney Tech (now the National Art School) and she quickly became deeply involved in the crafts<br />

movement in Australia.<br />

She was awarded a Crafts Board grant to research the history <strong>of</strong> <strong>Australian</strong> ceramics, and was the<br />

founding editor and producer <strong>of</strong> the new journal Craft Australia, one <strong>of</strong> the founding members <strong>of</strong><br />

the Crahs Association <strong>of</strong> Australia and the Crafts Association <strong>of</strong> NSW, and a founding member <strong>of</strong> the<br />

Ceramic Study Group <strong>of</strong> NSW.<br />

For the Crafts Association <strong>of</strong> Australia. she produced the book Crafts <strong>of</strong> Australia, designed<br />

by Douglas Annand and John Reid, and published in English, Pitjantjatjara and Japanese. It was<br />

launched nationwide through craft associations in 1974 for the 10th anniversary <strong>of</strong> the first <strong>Australian</strong><br />

craft association. before it accompanied the <strong>Australian</strong> crafts exhibition to Toronto.<br />

At the same time, Warren was carrying out research into low-fired porcellaneous clays.<br />

Warren had many exhibitions <strong>of</strong> her work and is represented in the National Gallery <strong>of</strong> Australia in<br />

Canberra, the National Gallery <strong>of</strong> Victoria, and in numerous private collections.<br />

Joyce Warren is survived by Guy and their children, Joanna and Paul.<br />

Guy Warren<br />



Focus: Cera mics + Narrative<br />


Vivonne Thwaites digs the dirt on Gus Clutterbuck<br />

<strong>The</strong> 1400 kilometre drive out from Adelaide to the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands<br />

<strong>of</strong> <strong>No</strong>rthwest South Australia is rough, isolated and lonely. It is a road that Gus Clutterbuck has travelled<br />

many times for his work as an artist in various indigenous communities, most recently at Amata. His old<br />

Toyota diesel ute is stocked with supplies, fuel and spare tyres, just in case.<br />

I had the opportunity to make the journey w ith Gus recently. You think you know the landscapes <strong>of</strong><br />

Australia but until you go out to this country and stand in it you don't really see it. <strong>The</strong> impact <strong>of</strong> the<br />

colour is so overwhelming that it affects your outlook generally; you realise you are in a special place.<br />

<strong>The</strong>re are moments where you simply stop by the road am idst the astonishing orange, green, yellow<br />

<strong>of</strong> the landscape. At other times a storm may seem to chase you across the flat landscape as you head<br />

towards Coober Pedy, the last major stop before you hit the dirt road .<br />

Gus knows the country and many <strong>of</strong> the indigenous families at Amata and Ernabella. He initially<br />

worked at Ernabella Arts, then moved with his family to Amata Community for a twelve-month stretch,<br />

teaching part time at Amata School while looki ng after his two children. Gus's wife Kris worked at<br />

Amata Clinic as the Women's Health Nurse. <strong>The</strong>ir personal journey <strong>of</strong> reconciliation has sprung from<br />

a desire to be immersed in another culture and learn firsthand through looking, listening and working<br />

with people.<br />

Gus is regu larly involved in artist residencies at communities. His most recent project in Amata was<br />

working with the 'watis' (young men) to redevelop the school entrance with a long sculptural wall<br />

Gus Clutterbuck, Plastic Geology, <strong>2011</strong> , slipcast, midlire clay, monoprinted; h.30cm, w.13Ocm, d.20cm<br />

Photo: Granl Hancock

Focus: Ceram ics + Narrative<br />

decorated with handmade terracotta tiles. <strong>The</strong> art produced is one thing, but for Gus it's accompanied<br />

by a process <strong>of</strong> talking, listening and establishing relationships with the people, both indigenous and<br />

non-indigenous.<br />

Communities may be rubbish-strewn and dogs roam about, but it is the spectacular country that<br />

you remember and the people. <strong>The</strong>re is a gradual realisation that here is something outside your city<br />

experience and it takes your breath away. It is only by going out to remote communities that you can<br />

get some sense <strong>of</strong> how, where and what indigenous people refer to when they say 'country'.<br />

Gus has been busy reflecting on his experiences and bringing this through in his art practice. At<br />

the heart <strong>of</strong> his work is that moment <strong>of</strong> culture shock when encountering the remote indigenous<br />

community. <strong>The</strong> untidy streets and roaming dogs don't match our vision <strong>of</strong> neat middle class Australia.<br />

Due to t he majority <strong>of</strong> white <strong>Australian</strong>'s lack <strong>of</strong> experience <strong>of</strong> indigenous communities, the first<br />

impression, the surface veneer, may seem to equate with visions <strong>of</strong> third world poverty we experience<br />

vicariously through media grabs on TV<br />

Gus is interested in this surface. He sees it as a psychological space where both cultures (Anangu<br />

and Piranpa) collide leaving an obvious residue <strong>of</strong> dysfunction: rubbish, car wrecks, roaming dogs,<br />

unemployment and abandoned schemes. Below this veneer lies a rich and vibrant indigenous culture,<br />

<strong>of</strong>ten unseen, misunderstood, and not respected in mainstream Australia.<br />

Gus's sculptures are based on observations <strong>of</strong> this continuing cultural collision and they aim to be free<br />

<strong>of</strong> value judgements; they simply discuss the experience <strong>of</strong> being there at this point in time. In order to<br />

explore this, Gus samples the surface through his collection <strong>of</strong> 'suitable' rubbish. He may draw on scrap<br />

paper or make moulds from discarded things such as crushed flour t ins, plastic bottles and old mufflers.<br />

He re-makes these seemingly worthless objects in ceramic and paints his experiences onto the surfaces.<br />

<strong>The</strong> resulting objects and installations are studies <strong>of</strong> dysfunction. ironically cast in porcelain.

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

Gus Clutterbuck, Kamula Tjuta (flour-tin series),<br />

<strong>2011</strong> slipcast, monoprinted porcelain, carved figures. ink<br />

decoration; h.4Ocm, w33cm, d.2cm<br />

Gus Clutterbuck, Pana Dish 1, <strong>2011</strong> , Cool lee<br />

monoprinted, handbuilt, glazed; h.30em, w.26cm, d.3em<br />

Photos: Grant Hancock<br />

Gus's sculptural ideas could be presented through many mediums, but his use <strong>of</strong> slipcasting, an<br />

industrial ceramic production technique, is a conscious choice which he says allows a greater freedom<br />

to manipulate and alter materials. <strong>The</strong> resulting 'broken aesthetic' comments wryly on the " purity <strong>of</strong><br />

the vessel", but celebrates ordinary objects, things that are disintegrating into the landscapes, in a state<br />

<strong>of</strong> transition, gradually rusting away and becoming part <strong>of</strong> the country. For exhibitions he will at times<br />

combine the actual finds w ith his ceramic objects made from the casts <strong>of</strong> the detritus. For Gus it is<br />

about finding the objects, the location <strong>of</strong> the finds, and the lives that inhabit those places.<br />

As Brooke Collins-Gearing sa id recently in M/c <strong>Journal</strong>, <strong>Vol</strong> 13 <strong>No</strong> 4,2010 in relation to Warwick<br />

Thornton's film Samson and Delilah: "Waste is a subjective notion. Items that some discard and<br />

perceive as valueless can be <strong>of</strong> importance to others, and then it also becomes a waste not to<br />

acknowledge or use that item. Rather than only focusing on the concept <strong>of</strong> 'waste' as items or materials<br />

that are abandoned, I wish to consider the value in what is wasted .. <strong>No</strong>tions <strong>of</strong> value and waste are<br />

tied to cultural hierarchies, and it is through questioning how a dominant culture determines value that<br />

processes <strong>of</strong> transformation and mediation take place. "1<br />

Gus's aim in casting from the thrown away detritus is to talk to a wider audience about the found,<br />

the cast <strong>of</strong>f, the remainders <strong>of</strong> lives that are ongoing in Australia's outback for our indigenous people.<br />

He reflects on things that once had a function and a purpose but that have now lost their function,<br />

and uses these crushed objects as a metaphor reflecting on problems and dysfunction in indigenous<br />

communit ies.<br />

He attempts to 'stop the gap' by framing within the artwork his own, and his family's, personal<br />

experiences <strong>of</strong> living in the APY Lands and getting to know Anangu people. He illustrates the simple<br />

things that can bring us together: bush tucker trips and eating together, footy matches and our children<br />

all playing together. For Gus these connections with people will never be forgotten.<br />

Vivonne Thwaites is a freelance. Adelaide-based curator, She established artroom5 to show<br />

new and emerging artists; www.artroom5.com.au.<br />

1 Brooke Collins-Gearing. 'Reclaiming the Wasteland : Samson and Delilah and the Historical Perception and Constructkm <strong>of</strong> Indigenous Know1edges<br />

in <strong>Australian</strong> Cmema', Mle <strong>Journal</strong>. <strong>Vol</strong> 13 <strong>No</strong> 4, 2010. See also http://journatmedia+culture.org .aulindex.phplmcjournaVartidelviewArtide1252<br />


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

1 Gus Clutterbuck. Muffler Vases , <strong>2011</strong><br />

slipcast, mldfire day, monoprinted. altered, glazed<br />

each h.46cm, w.26cm, d.7cm<br />

2 Gus Clutterbuck, Broken Landscape 7<br />

installation, 201" Cool Ice, monopnnted, altered and<br />

glazed; installation, h.40cm, w.13Ocm, d.2Scm<br />

3 Gus Clutterbuck. Mosaic Landscape 1<br />

installation. 201 1. Cool lee. monoprinted, altered<br />

h.4Ocm, w.13Ocm, d.2Scm<br />

Photos: Grant Hancock<br />


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

Belinda Fox and Neville French, Umnonari Vessels; porcelain, wheelthrown. altered, inlaid, incised limestone and<br />

feldspathic glazes; photo: Pixart<br />

<strong>The</strong> Narrative <strong>of</strong> Place<br />

Altair Roelants discusses a collaborative journey<br />

with Belinda Fox and Neville French<br />

Victoria based artist Belinda Fox and ceramicist Neville French's recent joint body <strong>of</strong> work exhibited in<br />

Slip , 4-18 June <strong>2011</strong> 1 at Sydney's Arthouse Gallery, marked the end <strong>of</strong> a fruitful collaborative journey<br />

that was initiated by Fox's chance foray into ceramics in Skopelos, Greece - the natural beauty and<br />

marine w ild life <strong>of</strong> the area giving the artists much <strong>of</strong> the inspiration for the show. <strong>The</strong> successful<br />

exhibition, that included couplings <strong>of</strong> evocative paintings and luminous porcelain vessels, captured the<br />

fragility <strong>of</strong> life and the marine environment within an interrelated painted and ceramic aesthetic Slip<br />

also marked the strong unity Fox and French had achieved and demonstrated the power that such crossdisciplined<br />

dialogues can have in expressing those narratives inherent in place, colour, glaze and form.<br />

Artist Belinda Fox is well known for her haunting mixed-media paintings and prints that combine<br />

wonderful moments <strong>of</strong> intimacy with flowing washes, to imagine man's charged relationship with<br />

the environment. This first time ceramics project was inspired by Fox's print-making residency at the<br />

Skopelos Art Foundation in June 2010 2 , during which time she also had the opportunity to learn from<br />

a well respected local traditional potter3. Working in clay had come naturally to Fox and this experience<br />

compelled her to explore ceramics potential for expressing the rich ecological fabric <strong>of</strong> the area and her<br />

broader environmental concerns. Similarly as an artist who <strong>of</strong>ten incorporates experimental components<br />

within her practice and creates stories "in multiple parts"', fUSing 2d and 3d elements appealed to<br />

Fox and she believed that this multi-disciplined approach would really bring the essence <strong>of</strong> Greece<br />

to life. After returning to Australia, Fox initiated an on-line search for a ceramicist whose aesthetic<br />

would complement her ideas, which brought her to ceramicist Neville French. Well respected for his<br />


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

rich expressive approach to glazes and graceful forms, French takes his inspiration from rural Victoria<br />

to "distill an essence <strong>of</strong> place, evoke quietude and transcendence" .5 It is not surprising then, that Fox<br />

was drawn to "the natural, beautiful and elegant forms"6 <strong>of</strong> his ceramics and felt there was an affinity<br />

between their two aesthetics. After an email <strong>of</strong> introduction, the two artists first met in August 2010<br />

to discuss the joint project that would take them on a journey <strong>of</strong> investigation and learning over the<br />

following months.7<br />

Drawing on Fox's images <strong>of</strong> Greece - particularly white sea urchins (or 'hairy flowers' as they translate<br />

in Greek), jelly f ish, the ocean and the physical delicacy <strong>of</strong> that environment - the duo commenced<br />

work in September 2010 beginning with the collaborative porcela in vessels B As French explains, "<strong>The</strong><br />

development <strong>of</strong> the ceramic techniques and method we used was very systematic and started with a<br />

clear aim to express a feeling <strong>of</strong> fragility. "9 French began by creating test tiles and experimenting with<br />

blends created from four clay slips <strong>of</strong> white, brown, blue and black that he felt would be suitable as<br />

under glazes and "would have an affinity with Belinda's printmaking skills and techniques" .!O After<br />

demonstrating a range <strong>of</strong> ceramic techniques to Fox!!, he then supplied the artist with clay tiles and<br />

buckets <strong>of</strong> the slips to experiment with independently in her Melbourne studio. Fox found this process<br />

both exciting and challenging due to shifts in colour post firing and obtaining preciSion in the malleable<br />

clay. As she discusses she had to " let go" <strong>of</strong> her own artistic impulses in order to engage and 'build<br />

confidence' in what is more <strong>of</strong> an 'organic process' !2. <strong>The</strong> emotive surface designs Fox developed<br />

incorporated incising, sgrafitto and inlay, and brushed, poured and splashed slip effects, such as solvents<br />

and salts sprayed and splashed onto wet slips to create brilliant marine effects that depict the mood,<br />

movement, textures and wildlife <strong>of</strong> the sea and which would later be echoed in the imagery and colours<br />

<strong>of</strong> the paintings. <strong>The</strong>se test tiles were then returned to French for bisque and glaze firing.<br />

Belinda Fox and Neville French, Limnonari Vessel 3, porcelain, wheelthrown, altered, inlaid, incised limestone and<br />

feldspathic glazes; h.3Ocm, w.24cm; photo: Pixart

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

Above: Belinda Fox and Neville French, Limnonari Vessels. porcelain, wheel formed. altered, inlaid incised limestone<br />

and feld,pathic glaze,.<br />

Below: Belinda Fox incising a Limnonari Vessel<br />

Photos: courtesy artists

Focus: Cerami cs + Narrative<br />

While Fox developed the surface designs, French worked on the base glazes in his studio in<br />

Buninyong, creating ten in total that would strengthen the thematic thread by mimicking the reflective<br />

qualities and hues <strong>of</strong> the sea. <strong>The</strong>se included a fluid glossy glaze with suspended bubbles in the surface,<br />

a translucent papery matt glaze, a crystalline semi matt glaze and a felspathic crazed glaze 13 in pale<br />

blues, greens and ambers. French then tria led variations <strong>of</strong> these glazes over Fox's designs on the test<br />

tiles. As he explains, he applied "thick and thin applications, layered, juxtaposed, brushed, sprayed and<br />

poured to discover the ways to effectively integrate the drawing and washes with the glazed surface" I.<br />

and to play with the effects <strong>of</strong> light and transparency. This process was new for French whose own<br />

porcelain forms are normally free <strong>of</strong> motifs, and enabled him to apply glaze in a more" painterly<br />

way" and to "shift the behavior <strong>of</strong> the glazed surface" IS French's expertise and understanding <strong>of</strong> the<br />

expressive and imaginative capacity <strong>of</strong> glazes positioned them as integral elements <strong>of</strong> both the vessels<br />

and overall body <strong>of</strong> work. <strong>The</strong> glazes evoke contemplation and forge a connection by reflecting natural<br />

light, which extends the narrative reach <strong>of</strong> the vessels to the paintings, the surrounding space and the<br />

viewer, drawing these elements back into the<br />

porcelain form - very much like the flow <strong>of</strong> the<br />

tide.<br />

For the forms <strong>of</strong> the vessels themselves, French<br />

developed a set <strong>of</strong> eight large test pots in the<br />

shape <strong>of</strong> jellyfish that would mirror Fox's imagery.<br />

French then bubble wrapped these un-fired<br />

samples and drove them to Fox in Melbourne<br />

where the two artists considered the designs and<br />

applied the most successful onto the test vessels.<br />

This stage required them both to work in their<br />

area <strong>of</strong> expertise but intuitively and in new ways -<br />

Fox was drawing directly onto a large, curved clay<br />

object and the designs had to meld the exterior<br />

with the interior <strong>of</strong> the vessel. French had to apply<br />

glazes that would merge Fox's designs with the<br />

porcelain form and achieve the desired aesthetic<br />

outcome after firing. As Fox explains, it was<br />

both "terrifying and liberating doing something<br />

you didn't know" by "starting from something<br />

Progress on Limnonari Vessel 7; photo: courtesy artists beautiful. .. responding to its shape and form" 16<br />

French then produced the final vessels l7 , before<br />

returning them to Fox. During the finishing stages, Fox suggested Facebook as a practical way for<br />

them to upload images and comments from their respective studios and it became a vital tool for the<br />

remainder <strong>of</strong> the process, particularly when discussing final glaze choices. Fox also kept a notebook<br />

about the collaboration, including records <strong>of</strong> the slip blends, colour pa int samples and sketches. <strong>The</strong><br />

porcelain vessels were finished by French in April, during which time Fox worked on the paintings in<br />

response to particular ceramic pieces; these were completed in May.<br />

<strong>The</strong> resulting exhibition, Slip (20 11 ), included thirteen mixed media paintings on board and fourteen<br />

thrown and altered porcelain vessels. Tying in the beginning <strong>of</strong> this journey, three <strong>of</strong> the painted works'S<br />

came from Fox's residency in Greece and were pivotal pieces within the show. <strong>The</strong> exhibition layout also<br />

illustrated the wonderful fusion between these two artist's practices, as the vessels and paintings were<br />

displayed as pairs. <strong>The</strong>se groupings were selected during the making process by Fox'9 to express the<br />

direct relationship between the 2d and 3d forms - the most explicit being three small vessels positioned<br />


Focus: Ceram ics + Narrative<br />

Belinda Fox in studio; Neville French in studio; photos: courtesy artists<br />

beneath the painting Tide (201 1). As Fox explains, "I made the painting so it felt like a torrent <strong>of</strong> water<br />

and energy was falling into the vessels below." 20 Similarly, Fox positioned the works within the space to<br />

create a "narrative journey through the exhibition"21 itself. Such an approach was particularly successful<br />

in Slip as one instantly had a sense <strong>of</strong> the place and story Fox and French were describing - as the<br />

ocean flowed from the walls to the vessels in energetic but delicate waves, and the occasional lone<br />

figure in the paintings reminded us, the audience, <strong>of</strong> our position within this cycle. Even more striking<br />

was the feeling one got <strong>of</strong> the seamless nature <strong>of</strong> this collaboration and harmony demonstrated in<br />

the work - both elements could have been created by one artist, and the pride in this partnership is<br />

expressed in their joint signature, 'ff'. When asked about this experience, both artists speak <strong>of</strong> thorough<br />

enjoyment and pay tribute to the other's expertise, expressing what they gained from the collaboration<br />

and how it influenced their own practice. As French states, "<strong>The</strong> final results were a great fusion <strong>of</strong> our<br />

skills and, I believe, more than either <strong>of</strong> us could have achieved individually. "22<br />

So successful was the collaboration, Fox and French have another exhibition coming up at Canberra's<br />

Beaver Gallery Give & Take, 22 March - 10 April 201223, which will again incorporate ceramics but this<br />

time with works on paper and print-making. In this sense, Slip becomes a space <strong>of</strong> narration not only<br />

about place, but also about the journey these two artists have been on and will continue on.<br />

Altair Roelants is a freelance arts writer based in Sydney,<br />


View <strong>of</strong> the exhibition, Slip, Arthouse Gallery, Sydney, June <strong>2011</strong>; photo: courtesy gallery<br />

Full exh.brtion title Belmda Fox Sftp. 4-18 June <strong>2011</strong>; www.arthousegallerycom.au<br />

Belmda fox was invited by master printer Basil Hall to create prints along W1th teo other artISts.<br />

<strong>The</strong> Greek. poner was Baslly Rodlo who creates the traditional black ceramIC ware <strong>of</strong> Greece at the studio opened by his<br />

great grandfather In 1900<br />

Quote taken {(om Belinda Fox August <strong>2011</strong><br />

Ouote taken from Neville French's website W'MV.nevlllefrench.com<br />

6 Ouote taken from interview with Belinda Fox in August <strong>2011</strong><br />

This was a first lime collaboratlOO for French. and \Ntllie Fox had worked coUaborauvely before this was the first titTle<br />

she had done so with a ceramICist.<br />

8 <strong>The</strong> porcelain vessels came to mfOim Fox's paintings.<br />

9 Quote taken from a text supplied by Neville French August <strong>2011</strong><br />

10 Quote taken from a text supplied by Neville French August <strong>2011</strong><br />

11 <strong>The</strong>se included inlay, inCISing, sgraffito and screen pnntlng<br />

12 Discussed dUring an IntervIeW with Belinda Fox August <strong>2011</strong><br />

13 Quote taken from a text supplied by Neville French August <strong>2011</strong><br />

14 Quote taken from a text supplied by Neville French August <strong>2011</strong><br />

15 Quote tak.en from a text supplied by NevIlle French August 201 I<br />

16 Quote taken from mterviewwFth Selinda Fox August <strong>2011</strong><br />

17 <strong>The</strong> vessels ranged In heIght from 10 to 40 em<br />

18 <strong>The</strong>se are Your Journey May Be Long (2010). Full <strong>of</strong> Adventures (2010), With Much ro Learn (2010)<br />

19 Fox consulted with French during the exhibition pldnntng and layout<br />

20 Quote taken from Behnda Fox September <strong>2011</strong><br />

21 Ouote taleen from intervIew WIth Belinda Fox Augu st <strong>2011</strong><br />

22 Quote taken from NevIlle French August <strong>2011</strong><br />

23 For more Information about the artists and their exhibition at Beaver Gallery, please visit www.belmdafox.com.3u<br />

and www.nevillefrench.com<br />


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

Tale <strong>of</strong> a pot<br />

lrianna Kanellopoulou<br />

In Your Eyes<br />

Kevin Grealy<br />

<strong>The</strong> Patina <strong>of</strong> Ages series<br />

Photo: courtesy artist<br />

~~'"<br />

~~.,.><br />

. ,.hJ~~tIJJ><br />

*' /I1Uvr),w<br />


Fleur Shell<br />

Heidi Hill and Fleur Schell are<br />

shown here drawing the story<br />

board, for characters made <strong>of</strong><br />

porcelain, for a book Fleur is<br />

working on.<br />

"Heidi and I share many hours<br />

drawing. At the lovely age <strong>of</strong> six,<br />

Heidi is in that wonderful window<br />

<strong>of</strong> creative expression where her<br />

drawings exist in a world without<br />

gravity and where everyone has<br />

X-ray vision. <strong>The</strong> lines between<br />

what's real and what is imagined<br />

are blurred. Without inhibition she<br />

draws herself floating amongst<br />

the most detailed, colourful and<br />

animated animals, plants and<br />

inanimate objects. <strong>The</strong> way Heidi<br />

sees the world is a great source<br />

<strong>of</strong> inspiration for the book I am<br />

working on."<br />

Pru Morrison's email to the <strong>Australian</strong> <strong>Ceramics</strong> Discussion list, 12 September <strong>2011</strong>:<br />

I've been using underglaze (ug) pencil lately to draw on porcelain surfaces and have found<br />

the ug pencil remains stable if you draw on the surface after bisque and then high-fire to fuse<br />

the pencil to the surface before clear glazing and firing again. I've achieved good coverage<br />

with shading and blacks by building the layers up between firings which is a technique from<br />

china painting except the layers are built up before the final glaze firing. Ug pencil also works<br />

well on terra sigi/lata surfaces<br />

if the surface is not buffed<br />

up. Drawing is a great way<br />

to record and communicate<br />

information quickly. its costs<br />

are low and it's completely<br />

portable and discrete if need<br />

be, and it's a language tool<br />

without the hassles <strong>of</strong> words.<br />

Pru Morrison<br />

Ode in Five Stanzas, <strong>2011</strong><br />

Photo: artist<br />


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

Sony Manning<br />

Below: Transparent Ligh t; photo: Terence Bogue

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

/. 'kr f~ ~<br />

A'NW< - '5 5&'j.UJ.<br />

Janet Selby<br />

Angophoras, 2008; photo: Greg Piper<br />

Janet Selby on drawing:<br />

Drawing is essential for me to get the feel <strong>of</strong><br />

the subject. It is better than taking photos, as I<br />

can edit as I go and exaggerate the characteristics<br />

as I see them. Later on, I review the sketch<br />

and work on it some more. After these initial<br />

sketches, I make a small clay model to find out<br />

more about its character in the round. I call this a<br />

3D sketch. My father was a drawer. and we drew<br />

together for many years. For a more detailed<br />

description <strong>of</strong> my approach to sketching go to<br />

www.janetselby.com.au.<br />

Paul Gennings<br />

Rivet <strong>No</strong> 2<br />


Slightly anamorphic Images are sketched on curved surfaces. A plastic drycleaning bag avoids smudging whilst I support my<br />

arm and hand on the work. Freehand line detaIls are painted over undercoat slip using a fine hake·style brush. Working notes<br />

are made in pencil alongside the design to indicate colours; photo: Grant Hancock.<br />

Draw Your Own Conclusion<br />

Stephen Bowers shares his techniques and thoughts on drawing<br />

"So, are these deca ls?" a bystander asked me at an exhibition many years ago. I had to confess,<br />

"Actually no, the images on the pots were hand painted." Somehow I sank in estimation. Hand painting<br />

suggested the genteel hobby <strong>of</strong> china painting, folk pottery or the industrialised, endlessly repeated<br />

'hand-painted' units <strong>of</strong> commercial output. Back then it was the stoneware age, an era dominated by<br />

the narrow aesthetics <strong>of</strong> the wheel thrower, the glaze dipper and the high firer.<br />

Painted patterns and images on pots, especially representational images, were seen by some as<br />

superficial; they interrupted form, obscured the vigour <strong>of</strong> throwing marks and detracted from the truth<br />

<strong>of</strong> materials and the beauty <strong>of</strong> firing. We have come a long way from the limited days <strong>of</strong> the smudged<br />

gesture with an oxide-saturated brush; yet despite the allure, the placing <strong>of</strong> detailed images on pottery<br />

remains somehow problematical.<br />

<strong>The</strong> increase in image technology in painting and printing on clay (witness the influence <strong>of</strong> Grayson<br />

Perry and Paul Scott's excellent handbook on the subject, <strong>Ceramics</strong> and Print) along with a broader<br />

exchange <strong>of</strong> ideas, interests and techniques in the area, have expanded horizons and reclaimed for<br />

ceramics much <strong>of</strong> its heritage as a pictorial vehicle.<br />


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

<strong>The</strong>se days the variety <strong>of</strong> clay bodies, reliable<br />

stains and colours, transparent glazes and<br />

versatile kilns, makes decoration on pots readily<br />

accessible. We also seem more relaxed and<br />

receptive when it comes to visual images on<br />

ceramics and what we expect <strong>of</strong> them. Painting<br />

on pots is appreciated as a strand within the<br />

broader history <strong>of</strong> visual imagery. However, it<br />

remains a specialised area with challenges for<br />

anyone wanting to paint images on their pots.<br />

Following are some studio tips on tools and<br />

techniques that can be used when painting on<br />

pottery.<br />

Firstly, it helps to be interested in images and<br />

drawing and painting. If capturing what you<br />

see or expressing yourself in drawn or painted<br />

sketches, doodles or studies is something you like<br />

to do, then you are <strong>of</strong>f to a good start.<br />

It also helps if you have sources to work from.<br />

If you have a passion for pattern for example,<br />

then look at what has been done in this area, not<br />

just on pots, but on fabrics, text iles, wallpapers,<br />

furniture, metal, etc. Start a scrap book and build<br />

your own collection <strong>of</strong> source materials: books,<br />

magazines, images and samples.<br />

For the type <strong>of</strong> decoration I do, white clay<br />

is best, though terracotta can be slipped<br />

with compatible white clay to form a base<br />

for decorating. Surfaces should be clean and<br />

smooth. Wet finishing with a fine sponge or<br />

rib gives a good base to work on. If you use<br />

a scourer to fettle dry work smooth, wear a<br />

respirator to avoid inhaling dust, work outside<br />

and wash or hose down your work area . Once<br />

bisqued, wash pots to make sure the surfaces are<br />

clean before decorating.<br />

Body stain, glaze stain or underglaze stain<br />

can be wet sieve-mixed with some fine slip <strong>of</strong><br />

the same body as the piece. Colours should be<br />

well mixed with water into a smooth flowing<br />

consistency, which can be further thinned<br />

with water for easier application. A little bit<br />

(approx. one teaspoon to SOOml) <strong>of</strong> whatever<br />

glaze is being used can be added to enhance<br />

the slip's ability to fuse to the pot. Brushing in<br />

Second stage sketching <strong>of</strong> image: further details are<br />

added to an already airbrushed, stencilled and painted<br />

background.<br />

Light sketching lines, using a fine HB penCil, indicate the<br />

direction in which elements <strong>of</strong> the overall design wilt flow.<br />

A combination <strong>of</strong> daylight and powered lamps are used to<br />

avoid shadows on the work.<br />

Photos: Grant Hancock<br />


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

Opposite page: Tools shown on top <strong>of</strong> hand rest, which provides support when working at angles and is made from a block <strong>of</strong><br />

wood covered with lambswool; photo: Grant Hancock<br />

different directions lays down even basecoats, which can then be worked over in fine line detail. I use a<br />

transparent earthenware glaze and decorate both under and on top <strong>of</strong> the glaze.<br />

I use flat Japanese slip brushes and Hake-style round brushes, a mix <strong>of</strong> both goat and squ irrel ha ir. For<br />

fine work I use round squirrel and fine-tipped Kolinsky brushes. I rarely work out designs beforehand.<br />

I sketch directly on to pots (usually bisqued) and may use stencils <strong>of</strong> masking tape, paper or shellac to<br />

isolate areas as I build up layers <strong>of</strong> decoration, preparing the background first, or working in reverse,<br />

where the background (if using enamels or gold lustre) might be done last.<br />

Currently, I mostly use MFQ clay and bisque all decoration to 1025°C before I glaze to about 1165°C.<br />

Decoration takes place across several distinct steps, i.e. stencil, sponging, rag-rolling, spraying/airbrush,<br />

followed by brush work.<br />

I dip large plates and spray bottle forms. Once dry, I fettle the glaze to minimise pinholes and blisters.<br />

Being left-handed, I work from right to left across the surface to avoid smudging work during<br />

painting. When doing fine line work I may add a fixative (like edible gum) to colours. Various fixatives<br />

are available from art suppliers, but hair spray also works. To avoid touching painted areas directly whilst<br />

working, I lay down s<strong>of</strong>t dry-cleaning plastic bags. Background layers <strong>of</strong> decoration are less likely to rub<br />

or smudge if colours are prepared properly and painting is done with care.<br />

Designs can be drawn with a range <strong>of</strong> pencils, from s<strong>of</strong>t 6B on damp and leather hard clay, to fine HB<br />

on bisque ware (I use cheap retractable pencils). Keep pencil outlines spare as too much graphite on the<br />

surface acts as a res ist to slips and colours. Mistakes on bisque can be erased with a s<strong>of</strong>t rubber. Pencil<br />

burns out during the bisque. To transfer an image on to a pot, try tracing over it with tracing paper<br />

or oven baking paper, cut it out and trace round it onto the pot (or just draw it freehand). To repeat<br />

an image, I make a cut out stencil <strong>of</strong> stiff cartridge then coat it with good varnish to add strength and<br />

waterpro<strong>of</strong>ing, which helps if you're sponging on decoration.<br />

To transfer an image, trace heavily over your selected image on a piece <strong>of</strong> lunch wrap or baking<br />

paper in a s<strong>of</strong>t 6B pencil, then turn the tracing over and hold the traced lines where you want the<br />

image and rub firmly over the lines. <strong>The</strong> s<strong>of</strong>t 6B line work will transfer faintly to the pot giving you a<br />

fast start on your image.<br />

Draw as much as possible. Start by learning styles and techniques. Do not be afraid to repeat and<br />

copy; learning any hand skill requires understanding and confidence which can be gained through<br />

study, and drawing on the curved surface <strong>of</strong> a pot will teach you about anamorphic1 images. You will<br />

soon feel that drawing is a key skill within your practice when you make drawing with pencil and brush<br />

an integrated part <strong>of</strong> your everyday studio routine.<br />

1 Anamorphosis is a distorted projectIOn or perspective requiring the viewer to use s.pedal deviCes or occupy a SpecIfIC<br />

vantage point 10 reconstitute the image<br />

Stephen Bowers is a Field Researcher with the Australasian Institute <strong>of</strong> Backyard Studies.<br />

His ceramic work was shown at Robin Gibson Gallery, 27B Liverpool Street Sydney,<br />

15 October - 9 <strong>No</strong>vember <strong>2011</strong>, and will be shown at BMG Gallery, 33 <strong>No</strong>rth Street, Adelaide,<br />

24 February - 17 March 2012.<br />


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

Surreal Compositions<br />

Danny Lacy looks into the narrative work <strong>of</strong> Rob McHaffie<br />

Rob McHaffie is a painter. He paints objects and fragments <strong>of</strong> images combined from source material<br />

he collects and creates: magazine pictures, photos, plants, fabric. He makes objects and composes<br />

model assemblages, absurd miniature still lives which are photographed and incorporated into his<br />

paintings. Collaged together, all these fragments from McHaffie's immediate surrounds form surreal and<br />

playful narratives.<br />

As part <strong>of</strong> the process <strong>of</strong> juxtaposing different materials and subject matter, McHaffie <strong>of</strong>ten uses clay<br />

to create little scrunched up faces and figurines, playful sculpted characters. <strong>The</strong>se objects inhabit the<br />

landscape <strong>of</strong> many <strong>of</strong> McHaffie's paintings, and act as central protagonists within the narratives <strong>of</strong> his<br />

work. <strong>The</strong> texture <strong>of</strong> hand-sculpted clay is skilfully rendered by McHaffie's s<strong>of</strong>t and delicate treatment <strong>of</strong><br />

paint. Smoothly replicating the intricate play between light and shadow and the waving forms created<br />

by the fold, the paintings have a surreal look to them.<br />

I <strong>of</strong>ten look at McHaffie's paintings that feature his sculpted characters and feel a sense <strong>of</strong> dislocation<br />

and ambiguity. To me they represent portraits <strong>of</strong> loneliness or internal struggle, which is heightened by<br />

the materiality and malleability <strong>of</strong> clay, crumbled paper or ruffled fabric. In some <strong>of</strong> McHaffie's earlier<br />

works, the disembodied figures seem quite uncomfortable in their ripples and folds and are filled w ith<br />

a brooding sense <strong>of</strong> melancholy. Did you get me one? is a good example <strong>of</strong> this, a sombre character<br />

holding a take away c<strong>of</strong>fee appears shrivelled and forlorn. McHaffie represents the way we sometimes<br />

feel underneath the toughened exterior we project<br />

outwards to the world.<br />

<strong>The</strong> translation across different mediums is a<br />

fascinating part <strong>of</strong> McHaffie's practice. His drawings,<br />

paintings and ceramics all exist within a similar<br />

framework. <strong>The</strong> act <strong>of</strong> translation starts with an object;<br />

in McHaffie's case this can be a collage or a ceramic<br />

sculpture. <strong>The</strong> translation from ceramic sculpture to<br />

painted object tends to free the ceramic object from<br />

any privileged position as being a unique original, and<br />

re-animates it as part <strong>of</strong> a wider narrative construct.<br />

Perhaps we all want to feel part <strong>of</strong> a larger whole and<br />

McHaffie's paintings embed and flatten various objects<br />

together to create a unified constructed world. This<br />

can be seen where Untitled, a porcelain head, makes<br />

an appearance in the painting I should tidy, the real<br />

estate guy is coming at 3.<br />

Rob McHaffie, Did you get me one 7, 2006<br />

oil on linen, h.62cm. w.52cm; private collection<br />

Courtesy Darren Knight Gallery, Sydney<br />


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

All work by Rob McHaffie<br />

1 I should tidy. the real estate guy is coming at 3, 2009, oil on linen, h.46cm, w.S6cm; private collection<br />

2 Untitled, 200B, porcelain, h.9cm<br />

3 Nick Cave, 200B, porcelain, h.1Bcm<br />

4 Untitled (sick <strong>of</strong> not being me) and Untitled (follow your nose), 2009, porcelain, h. 14cm & h.12cm<br />

Photos: courtesy artist and Da rren Knight Gallery, Sydney<br />

Recently there has been a noticeable shift in McHaffie's practice with a renewed sense <strong>of</strong> optimism<br />

appearing in his work. Paintings such as Semi-supine and I should tidy, the real estate guy is<br />

coming at 3, present images <strong>of</strong> relaxed confident characters embedded within richly coloured<br />

landscapes. Abstracted faces have solidified into classic sculpted heads and bodies are seen as whole<br />

rather than just parts. In Semi-supine, the central sculpted character lies on his back blissfully relaxing<br />

in a sunny desert vista fea turing cacti, an old building covered with PEACE text and angels, a cat. and a<br />

rocky outcrop in the background.<br />

Also, <strong>of</strong> late, the ceramic component to McHaffie's art practice has become a larger focus, rather than<br />

existing as the original object in the process <strong>of</strong> a painting practice. <strong>The</strong> translation <strong>of</strong> the ceramic object<br />

between object and painting is interesting in delivering a conversation across the different mediums.<br />

<strong>The</strong> ceramic work, while still quite <strong>of</strong>ten being incorporated into the paintings, exists as a sculpture<br />

in its own right Recent stand-alone ceramic works include the iconic <strong>Australian</strong> singer Nick Cave,<br />

3 • ----------"-<br />


Focus: Ceram ics + Na rrative<br />

two heads Untitled (sick o f not being<br />

me), Untitled (follow your nose) and<br />

a series <strong>of</strong> smaller ceramic objects that<br />

were exhibited together as a grouping <strong>of</strong><br />

figures, candlestick holders and heads in<br />

a group show in a Brunswick warehouse<br />

organised by Darren Knight Gallery in<br />

2009.<br />

While it's not uncommon for<br />

contemporary artists to work seamlessly<br />

across various mediums, there are currently<br />

a number <strong>of</strong> dynamic younger artists like<br />

Brendan Huntley, Renee So and Katherine<br />

Rob McHaffie, Sem i~s up in e. 2009, oil on linen. h.84cm w.l00cm Huang who incorporate ceramics as<br />

Courtesy artist and Darren Knight Gallery, Sydney<br />

an integral part <strong>of</strong> their art pradices.<br />

MCHaffie would consider these artists his<br />

peers; artists who have developed the<br />

ability to successfully translate and develop t heir art pradices across mediums while pushing the limits<br />

<strong>of</strong> their creativity at the same time.<br />

Danny Lacy is Curator at the Shepparton Art Museum.<br />

Rob McHaffie is a Melbourne-based artist who graduated from the Victorian College <strong>of</strong><br />

the Arts in 2002 with a Bachelor <strong>of</strong> Fine Arts in Drawing. McHaffie has held residencies at<br />

Gertrude Contemporary Art Spaces in Fitzroy in 2005, an Australia Council Skills and Arts<br />

Development Grant-funded studio at the Cite Internationale des Artis in Paris in 2007 and has<br />

most recently completed an Asialink Visual Arts residency in Malaysia in <strong>2011</strong> . McHaffie is<br />

represented by Darren Knight Gallery, Sydney.<br />

Rob McHaffie, installation view, 2009; photo: Viki Petherbridge; Darren Knight Gallery. East Melbourne<br />


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

TH€ fom~<br />

<strong>The</strong> Story <strong>of</strong> Palissy the Potter title page<br />

A Potter's Tale<br />

Damon Moon selects a few <strong>of</strong> his favourite books about ceramics<br />

Everybody has a story to tell and potters are no exception. Before the days <strong>of</strong> tweets and blogs, telling<br />

that story to a wider audience meant going into print. In most cases this meant writing an article for a<br />

ceramics magazine, but some potters managed to go one better than this and have a book published.<br />

<strong>The</strong>se books mostly concentrated on aspects <strong>of</strong> materials or technique, but occasionally a potter would<br />

write about ceramics in a wider context and in the process they would tell a story.<br />

This essay is about a few <strong>of</strong> these books. Most <strong>of</strong> them are relatively unknown, little gems in what<br />

must be considered one <strong>of</strong> the more obscure branches <strong>of</strong> publishing. I haven't chosen them for their<br />

inherent literary merit or even for the wealth <strong>of</strong> information they convey. More than anything else I like<br />

the sense <strong>of</strong> honesty these books have - they are very true to themselves, which is not a bad thing.<br />

So, without further ado, and in no particular order, here is my selection.<br />


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

<strong>The</strong> Story <strong>of</strong> Palissy the Potter<br />

T. Nelson & Sons, Paternoster Row, Edinburgh and New York 1876<br />

This is one <strong>of</strong> the oldest books lawn. Originally given as a ' Prize for Reading' to an Alice Lade in<br />

1877, it was bought by my father in the early sixties, and his name is inscribed on the first facing page<br />

under the original dedication. It is a beautiful little book and includes two colour-plates. <strong>The</strong> first is titled<br />

Pa/issy's Final Experiment and shows the potter sitting at a table mixing ingredients while his wife<br />

stands behind him holding their baby, while all around them on the floor are smashed pots. Reading the<br />

book it is apparent that it shows Palissy using fragments <strong>of</strong> pots to conduct glaze-tests, which just goes<br />

to show that some things never change.<br />

<strong>The</strong> second picture shows Palissy placing a pot in a kiln, which really looks more like a fancy bread<br />

oven with its neat cast iron door and polite little fire burning in the hearth underneath. Th is is Palissy<br />

hard at work trying to fire the aforementioned glaze-tests so he can discover the secret <strong>of</strong> what is<br />

referred to as 'a white enamel', which we would call a white glaze. This part <strong>of</strong> the story is perhaps the<br />

only thing that is now remembered about the whole tale, where Palissy is forced to burn the palings<br />

from his fences and then even the household furniture, all the time trying to gain sufficient heat to melt<br />

the glazes.<br />

<strong>The</strong> story is set against the fierce religious persecutions <strong>of</strong> the Protestant Huguenots by Catholics in<br />

16th century France, and, unfortunately, Palissy's life ends badly, locked in the Bastille by evil Papists.<br />

It is meant to be a tale <strong>of</strong> triumph over adversity, but - at least from a contemporary standpoint - the<br />

messages are very mixed. Starving one's kid dies and burning the furniture in order to get a good glaze)<br />

This book might appear to be an eccentric period-piece, but one <strong>of</strong> the curious facets <strong>of</strong> the text is<br />

the way it has parallels in some far more contemporary tales concerning the triumph <strong>of</strong> the will in a<br />

world <strong>of</strong> ceramic adversity.<br />

Potbank by Mervyn Jones<br />

Seeker & Warburg, London 1961<br />

Potbank: A social enquiry into Life in the Potteries was the first in a series <strong>of</strong> texts published as<br />

part <strong>of</strong> the 'Brita in Alive' series in 1961 . It's author, Mervyn Jones, was not a potter, but the picture he<br />

paints <strong>of</strong> life in the once-great ceramic centre <strong>of</strong> Stoke-an-Trent rings very true.<br />

<strong>The</strong> six towns that make up the city <strong>of</strong> Stoke-an-Trent (Longton, Hanley, Fenton, Burslem, Tunstall and<br />

Stoke) known collectively as 'the Potteries', are represented here in all their sooty splendour. In fact, if<br />

this book were a film it would be in black and white, with factory girls riding home from work on old<br />

Raleigh bicycles down cobbled streets lined with identical terrace houses. <strong>The</strong> language is chock full <strong>of</strong><br />

colloquialisms, hence the term 'potbank' for a factory that makes pottery, or 'paste' for the clay slip for<br />

casting porcelain.<br />

It is a world as far away as can be imagined from contemporary ceramics with its art schools, grants<br />

and galleries, while still working with the same basic materials, except that they did it so much better, or<br />

at least much more skilfully.<br />


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

And the writing is charming and very English - here is an example:<br />

Tower Square, in Tunstall, is to my mind the prettiest ... This is a peaceful, open square,<br />

with a sniff <strong>of</strong> fresh air and a lingering memory <strong>of</strong> a country market town. It is ridged in the<br />

middle, so that the houses seem to lean outwards. Mostly they are small, unassertive shops,<br />

selling things like jigsaw puzzles, goldfish food, and the libraries <strong>of</strong> defunct clergymen.<br />

For all the faddishness <strong>of</strong> lin de Zen. we shou ldn't forget that the vast bulk <strong>of</strong> <strong>Australian</strong> ceramic<br />

history lies in England, or that the wealth, skill, scale and success <strong>of</strong> the manufactories <strong>of</strong> Stoke-on-Trent<br />

are a singular moment in manufacturing history.<br />

This book certainly doesn't paint a romantic picture <strong>of</strong> life in the factories, and I doubt if many <strong>of</strong><br />

the Mashiko-bound potters in 1961 would have altered their destinations to the English Midlands after<br />

reading it. <strong>No</strong>netheless, it gives one a taste <strong>of</strong> an industry that, in its heyday, supported thousands <strong>of</strong><br />

workers and, together with the mills, steel and shipbuilding, made Britain great. <strong>No</strong>w, just let me check<br />

if that souvenir cup from Kate and Wills' wedding was 'Made in China' ...<br />

May by May Davis<br />

Self published May Davis, New Zealand 1990<br />

ISBN 0-473-01000-3<br />

After reading this autobiography by May Davis, one wonders that she had the energy to write<br />

anything down at all, given the almost ridiculous extremes <strong>of</strong> discomfort she endured at various times<br />

and places to, together with her husband Harry Davis, make pots that people might sometimes have<br />

wanted but, in reality, nobody actually needed.<br />

Bright, artistic and beautiful, born into a privileged household (her grandfather was the founder <strong>of</strong><br />

the Manchester Guardian, later to become <strong>The</strong> Guardian newspaper), one is left with the overriding<br />

impression that May Davis might have had a far easier life if she had just .. well, if she had just not met<br />

Harry Davis.<br />

<strong>The</strong>n again, one wouldn't want to convey the impression that May Davis was a shrinking violet,<br />

blindly following 'her man' as he travelled around the world on yet more arduous ceramic adventures.<br />

Indeed, as is obvious from the text, May was a little bit 'out there' herself, wholeheartedly identifying<br />

with various causes, sometimes to the detriment <strong>of</strong> both her personal life and health. This, combined<br />

with her husband's proclivity for taking on large challenges <strong>of</strong> a ceramic kind, make Harry and May<br />

Davis an interesting case-study in both how to conquer difficulties and yet at the same time make<br />

the easy difficult and to render success, if not a failure, then at least hard to savour by virtue <strong>of</strong> sheer<br />

bloody-minded ness.<br />

Of all the biographies included in this essay, May is probably the most 'tell all', in that it eschews<br />

almost all detail about the making <strong>of</strong> pots while including a great deal <strong>of</strong> detail about the life <strong>of</strong> the<br />

author. To be honest, there is a bit 'too much information' for me; the details <strong>of</strong> May's first orgasm,<br />

clutching Harry's knee as she sat beside him, fully-clothed and still decidedly in possession <strong>of</strong> her<br />

virginity, is interesting as far as it goes, but there is also surely something a little vain about recounting<br />

such an episode; as one reads further, it becomes apparent that the text is characterised by such<br />

observations.<br />


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

Don't get me wrong. This is a very gutsy woman we are talking about and she did not let herself<br />

be constrained by either societal expectations, or indeed by any regards for her own comfort. One<br />

also realises that it was all too easy for the male partner, in what was undoubtedly an equal working<br />

partnership, to become widely recognised while the woman was considered a kind <strong>of</strong> willing helper. In<br />

fact, reading this text it is clear that May Davis was deeply involved in all aspects <strong>of</strong> both making and<br />

selling the work. What she didn't do was embark on the numerous lecture and workshop tours that<br />

Harry Davis undertook, tours which served to raise his pr<strong>of</strong>ile in the international ceramic arena while<br />

May Davis attended to business and family at home.<br />

Both the Davis's were up for a challenge, but going to live in extremely adverse conditions in Peru<br />

in the early nineteen-seventies seems to have been one adventure too many, at least for Harry Davis,<br />

who returned from this adventure with his health seriously compromised. This was the last in a series <strong>of</strong><br />

South American adventures that must have sorely tested their endurance even when young and fit, let<br />

alone when they were approaching late middle-age.<br />

As May Davis herself asks, the question remains as to whether this kind <strong>of</strong> interventionist project (one<br />

could add Ivan McMeekin in the <strong>No</strong>rthern Territory, Michael Cardew in Africa) actually achieves very<br />

much, or merely perpetuates a kind <strong>of</strong> benign cultural condescension . At least in the case <strong>of</strong> Western<br />

potters visiting Japan the shoe was, for once, on the other foot, but that is a discussion for another day.<br />

And, having mentioned Michael Cardew, perhaps it is appropriate that the next text to be discussed is<br />

by the original pioneer potter himself.<br />

A Pioneer Potter - An Autobiography<br />

Oxford University Press, 1989<br />

ISBN 0-19-282641 -7<br />

<strong>The</strong> greatest disappointment to be had from reading Michael Cardew's A Pioneer Potter - An<br />

Autobiography comes when one realises that it is indeed only half an autobiography, as it ends in<br />

1948 with Cardew returning to England from the pottery he established at Vume in West Africa.<br />

According to the book's postscript. written by his son Seth Cardew, notes written by Michael Cardew<br />

before he died in 1983 indicated his intention to write about his later career: the return to Africa, then<br />

back to England in 1965 at the age <strong>of</strong> sixty-four, and lastly his prominence as an international ceramics<br />

celebrity, touring and giving workshops throughout the United States, Canada, Australia and New<br />

Zealand. Alas, it was not to be, so we only have this attenuated account <strong>of</strong> his own life, by his own<br />

hand.<br />

Cardew's most famous book, <strong>of</strong> course, is his 1960 Pioneer Pottery, a compendium <strong>of</strong> materials<br />

and techniques for making pottery - or, more precisely, stoneware pottery - in places where neither<br />

the tradition nor maybe even the need for such wares existed. As such, his entire production in Africa<br />

involved the augmenting <strong>of</strong> an effective indigenous tradition <strong>of</strong> low-fired wares with a curious amalgam<br />

<strong>of</strong> Anglo Oriental stoneware that itself was influenced by English slipwares and local African patterns, if<br />

not forms. It was a curious enterprise, and one which kept Cardew occupied for much <strong>of</strong> his life.<br />

However, the pottery that Cardew made at the beginning <strong>of</strong> his career came from a tradition much<br />

closer to home. As a young man he had fallen in love with English slipwares, and this fascination even<br />

intruded into his study while a Classics student at Oxford. And in a curious way this says it all - on<br />

one hand we have a well-educated young man, studying 'the Greats' at a prestigious university and<br />


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

Page from<br />

<strong>The</strong> Story <strong>of</strong> Pa!issy the Potter<br />

playing classical music in his spare<br />

time. On the other, we have a driven<br />

individual who has fallen in love with<br />

a remnant, almost extinct, tradition <strong>of</strong><br />

rural ceramics and who is intent on<br />

reviving that tradition, despite the fact<br />

that it has been utterly supplanted<br />

by industrial wares and can in fact<br />

probably only really survive as a token<br />

or facsimile within the fragile and<br />

precious world <strong>of</strong> the gallery and<br />

collector.<br />

In fact, Cardew's chapter in A<br />

Pioneer Potter titled 'Who Makes<br />

<strong>The</strong>se Wonderful Things?' describes<br />

in some detail the moment when he<br />

found that he could, as a relatively<br />

young man, enter in to the world<br />

already inhabited by Leach and Staite­<br />

Murray, when his pots, included in a<br />

group showing <strong>of</strong> the newly formed<br />

National Society <strong>of</strong> Painters, Sculptors,<br />

Engravers and Potters, met with great<br />

financial and critical success. Of course Cardew ran a mile, and the wonderful thing about this book is<br />

that he is so transparent in recounting the details <strong>of</strong> these and other moments <strong>of</strong> success and failure,<br />

indecision and passion in a voice which is neither too distant, or too self-involved.<br />

Other aspects <strong>of</strong> his life and career, including his prolonged absences from wife and family, are<br />

explained in a way which throws further light on his attraction to Africa. <strong>The</strong> personal conflicts<br />

thus hinted at might also account for his famously difficult nature, but instead <strong>of</strong> May Davis' rather<br />

confronting admissions, Cardew just gives us enough information to figure it out for ourselves.<br />

A Pioneer Potter is not a charming read, but it is clear-headed, erudite and one just wishes the old<br />

devil had lived long enough to finish it.<br />

Damon Moon<br />

Willunga <strong>2011</strong><br />

http://damonmoon.com<br />


Fo cus : <strong>Ceramics</strong> + Na rrative<br />

Material- does it really<br />

matter?<br />

A report by Janet De Boos on the Material Matters conference at ANU<br />

Anton Reijnders talking with Christina Bryer about her work in the School <strong>of</strong> Art foyer Gallery<br />

In a world where there is an increasing reliance on mediated experience, there is a case for materiality;<br />

but what does it mean, particularly with respect to ceramics? Material Matters, an event (or more<br />

accurately, a series <strong>of</strong> events) in Canberra that took place over four weeks in August this year, sought<br />

to examine this question as well as provide a forum for speakers who told stories <strong>of</strong> their relationship<br />

to their material. <strong>The</strong> anchor event was a large exhibition <strong>of</strong> works drawn from the teaching collection<br />

<strong>of</strong> <strong>Ceramics</strong> Workshop, ANU School <strong>of</strong> Art. Because <strong>of</strong> the large and varied nature <strong>of</strong> the collection<br />

(works from visiting artists, alumni, faculty and current students) it was grouped into seven themes,<br />

each examining a different aspect <strong>of</strong> the potential <strong>of</strong> clay as a medium. <strong>The</strong> works exhibited represented<br />

a poetic connection between material and idea - but not always poetics <strong>of</strong> conventional beauty. <strong>The</strong>y<br />

utilised the material qualities <strong>of</strong> clay to many different ends, and talked <strong>of</strong> place, alchemy and process.<br />

Each work told a story, some a clearly articulated narrative, some only implied - the kind <strong>of</strong> stories<br />

which take us to quiet places, where our own imagination is the storyteller.<br />

In addition to this major exhibition, there were several associated exhibitions at ANU School <strong>of</strong><br />

Art, showing work from the four international visitors - keynote speaker Anton Reijnders and Netty<br />

van den Heuvel (from the Netherlands), 2010 NCECA Residency winner from the US Ray Chen, and<br />

Christina Bryer from South Africa. Satellite exhibitions were held at the Watson Art Centre, Strathnairn<br />

Homestead Gallery, and Beaver Galleries.<br />


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

In addition to the exhibitions there was clay-based activity everywhere - community woodfiring at<br />

Strathnairn (with tutorials by master woodfirers Ian Jones and Moraig McKenna), master classes and<br />

workshops conducted by the visiting artists, and a symposium over the penultimate weekend <strong>of</strong> the<br />

event. Papers presented ranged from technical research on local materials (Craig Edwards) through to<br />

the way in which clay can be used to address environmental concerns (Shannon Garson and Cathy<br />

Franzi) and the singular qualities that specific materials bring to finished work (Kaye Pemberton).<br />

And although no one definitive answer was provided to the question <strong>of</strong> the importance <strong>of</strong> materiality<br />

by the papers delivered, it seemed that the value resided in the resistance <strong>of</strong> the material itself to<br />

completely transit the porous boundaries <strong>of</strong> contemporary art practice: that there was an insistent,<br />

almost stubborn, need to be identifiably clay (either the 'raw' in Claude Levi Strauss' anthropological<br />

demarcation) or ceramics (the 'cooked'), with ali the historical and human values that implies. <strong>The</strong><br />

presenters seemed to imply that even when the intent is trompe I'ceil, it is the heft, the density, the feel<br />

<strong>of</strong> the work, the origin <strong>of</strong> the material, that is part <strong>of</strong> its meaning ... the fact that it is what it is, and<br />

not just what it looks like it is, is part <strong>of</strong> the story <strong>of</strong> material mattering.<br />

In responding to clay, ceramic artists enter into an engagement that is both seduction and frustration.<br />

<strong>The</strong> siren indeed has her own voice - but it is a demanding one. Anyone who has ever falien in love<br />

with the medium wili testify to that. Perhaps this almost obsessive love is because <strong>of</strong> the considerable<br />

technical demands <strong>of</strong> the medium - if the artist does not fully understand the 'stuff' (the material),<br />

the vocabulary is meagre, the grammar is poor and what love sonnets were ever written with a limited<br />

vocabulary?<br />

" ... to show how empirical categories - ... such as the raw and the cooked, ... the moistened<br />

and the burned ... can (nonetheless) be used as conceptual tools with which to elaborate<br />

abstract ideas and combine them in the form <strong>of</strong> propositions."<br />

Claude Levi Strauss: <strong>The</strong> Raw and the Cooked, <strong>Vol</strong> 1, Mythologies 1964 (Eng translation 1969,<br />

Weightman)<br />

<strong>The</strong> full length version <strong>of</strong> t his article, with pr<strong>of</strong>iles on the four international visiting artists,<br />

can be viewed online: www.australianceramics.com.<br />

Ray Chen demonstrating as part <strong>of</strong> his<br />

Material Expression presentation<br />

Netty van den Heuvel's exploratory workshop, Dialogue in 3 Dimensions<br />


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

Anton Reijnders<br />

Stack 2 1,2010<br />

fired clay, terra sigillata folding<br />

chair (altered)<br />

h.7Scm<br />

Photo: courtesy artist<br />

Editor's note:<br />

Anton Reinjnders was one<br />

<strong>of</strong> tour international visiting<br />

artists at the Material Matters<br />

Symposium in August <strong>2011</strong> .<br />

See pages 42 and<br />

43 <strong>of</strong> this issue. and<br />

online at<br />

www.australianceramics.com.<br />

for a more indepth report on<br />

his activities whilst he was<br />

in Australia.<br />

Assumption: Anton Reijnders<br />

Siobhan Wall reports on an exhibition at Galerie de Witte Voet in Amsterdam<br />

It is three years since Anton Reijnders (b.1955) had an exhibition in the Galerie de W itte Voet (White<br />

Foot Gallery), and he has had a fruitful time producing and showing work in China as well as exhibiting in<br />

Ghent and Haarlem. This current exhibition continues his fascination with questions <strong>of</strong> meaning and how<br />

we make sense <strong>of</strong> what is around us. <strong>The</strong> title Assumption concerns a theme he has been intrigued by<br />

for a long time: "how human beings deal with reality ". Reijnders is aware <strong>of</strong> how we constantly attribute<br />

meanings to things - even though inanimate objects don't care what we think <strong>of</strong> them.<br />

His focus is on almost monochrome, organic stoneware elements, either unglazed or with a terra<br />

sigillata surface. His carefully composed collections <strong>of</strong> found objects and his own ceramic pieces give<br />

the impression that they have always existed; yet, according to the artist, they "could collapse at any<br />

moment" . " My work is very much about giving attention and concentration", he says, "especially in<br />

our times." He hopes to counter-balance what he perceives as a general hurriedness, producing quiet,<br />


Focus: Cerami cs + Narrative<br />

reflective pieces which" are difficult to grasp intellectually". By combining contrasting materials with<br />

found objects, he helps us notice the made objects and vice-versa. For example, in Stack he places two<br />

ceramic spheres he has formed himself on a chair suspended high up on the wall. <strong>The</strong>se perfect globes,<br />

with their exquisite surface patina reminiscent <strong>of</strong> pale cream ostrich eggs, invite us to observe a state <strong>of</strong><br />

equilibrium, the incongruous encounter <strong>of</strong> things that seem to belong together but which also comment<br />

on each other's apparent incompatibility. <strong>The</strong>y are temporarily suspended in time and space and have a<br />

'self-aware', puzzling quality, as if they are telling a Zen Koan - something that can 't quite be grasped.<br />

It's <strong>of</strong>ten possible to discern a subtle humour in his work and Reijnders is very aware that clay is not<br />

a 'heroic medium'. He celebrates its paradoxical qualities; ceramics are found in the domain <strong>of</strong> the<br />

domestic as well as being precious objects in museums; they are vulnerable but can also last forever, as<br />

seen in the curious finds discovered in archaeological digs. Reijnders draws on his extensive knowledge<br />

<strong>of</strong> the rich and varied history <strong>of</strong> the medium but is never didactic Instead, he says, "the whole<br />

thing is about giving attention" . In his sculpture <strong>No</strong>men Nescio 142, an upturned ceramic branch<br />

has the attributes <strong>of</strong> a leg placed upside down in a bucket This intriguing piece is the result <strong>of</strong> the<br />

artist's working process; the serendipitous concatenation <strong>of</strong> events that involves pr<strong>of</strong>ound, considered<br />

observation. Through his careful discerning, Anton Reijnders invites us to also notice things, when<br />

they appear together - so we can perceive their affinities and differences - as well as how we might<br />

imagine them apart. Although his work is not concerned with organised religion, the title <strong>of</strong> the show,<br />

Assumption, is associated with the Virgin Mary being received into heaven. But Anton Reijnders says,<br />

" I'm intrigued by what you'd describe as the<br />

source <strong>of</strong> religion but not religion as such."<br />

It might be more appropriate to define his<br />

approach as leading us towards a state <strong>of</strong><br />

'not knowing', and this is a place worth<br />

going. Where else in the world can you<br />

encounter a large ceramic finger balanced<br />

on top <strong>of</strong> a solid, black cloud, resting on a<br />

Daoist-inspired branch-like form?<br />

@ Siobhan Wall <strong>2011</strong><br />

Assumption was held April/May 201 1.<br />

www.antonreijnders.nl<br />

www.galeriedewittevoet.nl<br />

Siobhan Wall is an artist, writer, lecturer<br />

and curator living in Amsterdam. Her<br />

photo books Quiet Amsterdam and Quiet<br />

London are just a few <strong>of</strong> the many<br />

projects she is working on. She will be<br />

speaking at the conference on female<br />

sexuality at the Institute <strong>of</strong> Education in<br />

early December <strong>2011</strong>.<br />

Anton Reijnders, <strong>No</strong>men nescio 142, 2010<br />

fired clay, ,heet, bucket, wood, h.5Ocm<br />

Photo: courtesy artist<br />


Fo cus: <strong>Ceramics</strong> + Narrative<br />

Vale Talley Valley Anney<br />

Ray Cavill on the passing <strong>of</strong> a kiln<br />

Tara Valley Anney was first fired in 2005.<br />

<strong>The</strong> arch, extended flue and chimney were<br />

constructed from insulating bricks to test theories<br />

on minimising visible emissions in heavily reduced<br />

wood kilns.<br />

As we developed knowledge <strong>of</strong> the kiln and<br />

its zones, the proportion <strong>of</strong> successful pots<br />

increased but the kiln 's biggest success was the<br />

development and maintenance <strong>of</strong> the community<br />

<strong>of</strong> people involved in the firings.<br />

In early <strong>2011</strong>, the property on which the kiln<br />

stood was sold and the kiln had to be removed<br />

(it's now a flat-pack anagama). After one last<br />

firing, the kiln deconstruction took place in May­<br />

June. A huge thank you to all involved - many<br />

people contributed in a myriad <strong>of</strong> ways during<br />

the construction, maintenance, firings and<br />

deconstruction <strong>of</strong> this kiln. A special thanks to<br />

Jo Armytage (kiln co-conspirator), along with<br />

Jeff and Katherine and their family for sharing<br />

their property so generously.<br />

Photos: Lucille <strong>No</strong>bleza<br />


Focus: <strong>Ceramics</strong> + Narrative

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

Love, Loss, Masculinity and<br />

the Absurdity <strong>of</strong> the Human<br />

Condition<br />

A brief overview <strong>of</strong> the personal narratives <strong>of</strong>Todd Fuller by Megan Fizell<br />

Todd Fuller, Seek and Hide, <strong>2011</strong>, flocked terracotta, pigment<br />

acrylic on timber, astra turf, h.52cm, w.53cm, d.3&m<br />

Photo: courtesy Brenda May Gallery<br />

Through the dripping brushstrokes<br />

upon the canvas, the film Barry in the<br />

Wings by Todd Fuller, maps out the<br />

story <strong>of</strong> a tutu-wearing, pot-bellied,<br />

bald man who trips and falls upon<br />

the stage during his big performance.<br />

This poignant moment was realised<br />

by Fuller in a ceramic sculpture <strong>of</strong><br />

the same name. <strong>The</strong> white earthenware<br />

figure, painted with ink reminiscent<br />

<strong>of</strong> the dripping pigment used in the<br />

film, sits on the floor with bent knees<br />

and downcast eyes. <strong>The</strong> sculpture<br />

exemplifies the narrative layering <strong>of</strong><br />

Fuller's oeuvre spanning drawing,<br />

animation and sculpture.<br />

<strong>The</strong> storylines in Fuller's recent<br />

solo exhibition, Tense, at Brenda<br />

May Gallery, Sydney, originated<br />

predominantly from his experiences as an artist in residence at Australia's Starrier/Onslow Studio at the<br />

Cite Internationale Des Arts, Paris, a travelling scholarship awarded by the National Art School. <strong>The</strong><br />

Tin Man narrative features Parisian streetscapes and two lonely characters that encapsulated Fuller's<br />

sense <strong>of</strong> isolation in a foreign country. <strong>The</strong> narrative layering is found in Fuller's sculptural work with<br />

the inclusion <strong>of</strong> a film playing on an iPod secreted into the belly <strong>of</strong> several <strong>of</strong> the figures. <strong>The</strong> carefully<br />

woven stories, brimming with love, loss, anxiety and isolation, are clearly translated into his emotive<br />

sculptural works, complete with rough edges and bearing the marks <strong>of</strong> the artist's hand and heart -<br />

once seen, they are not easy to forget.<br />

Go to www.australianceramics.com to see more on Fullers' recent exhibition. including links<br />

to his videos.<br />

www.brendamaygallery.com.au<br />

Megan Fizell is a Sydney-based art historian. freelance journalist and manager <strong>of</strong> Brenda May<br />

Gallery. She is the voice <strong>of</strong> the art and food blog Feasting on Art (www.feastingonart.com). an<br />

innovative translation <strong>of</strong> painting to plate - recipes inspired by art.<br />


A Manly Art Gallery & Museum exhibition<br />

in partnership with<br />

<strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association<br />

2 December <strong>2011</strong> - 22 January 2012<br />

Curated by Gerry Wedd<br />

THE<br />


stories in ceramics<br />

Artists: Julie Bartholomew Mollie Bosworth Deborah Burdett Barbara Campbell-Allen Kris Coad<br />

Steve Davies Terry Davies Trisha Dean Lynda Draper Helen Earl Fiona Fell Ashley Fiona Honor Freeman<br />

Shannon Garson Amanda Hale Christopher Headley Mary-Iou Hogarth Jan Howlin Marianne Huhn<br />

Liz Low Janet Mansfield Pru Morrison Mirta Ouro Robyn Phelan Amanda Shelsher Dee Taylor-Graham

TH r NARRATIVE KNOT storm;1I crramics<br />

Gerry Wedd in his Port Elliot studio<br />

"You know where they say in Genesis that man was made from clay' <strong>No</strong>w they're saying that clay, genetically,<br />

contains all the information <strong>of</strong> every life form. It's all in the clay. You hit it with a hammer, a light comes from it<br />

<strong>The</strong>y've done expelllll€nts with Egyptian pottery made on a wheel thousands <strong>of</strong> years ago. <strong>The</strong>y play the plates<br />

backwards and receive a recording, a very primitive recording <strong>of</strong> what took place in the room."<br />

Innocent When You Dream: Tom Waits: <strong>The</strong> Collected Interviews; edited by Mac Montandon, 2006


T i l [ NARRATlvr KNOT ,(ories ill cmmllcs<br />

Some objects are made to act as metaphorical triggers, ciphers that are a starting point for contemplation,<br />

daydreaming and storytelling, such as Robyn Phelan's 'interactive' cloud game. Kris Coad's pieces, although mining<br />

a similar terrain, are instilled with a touch <strong>of</strong> duende (a touch <strong>of</strong> spirit), the nature <strong>of</strong> the material bringing a sense<br />

<strong>of</strong> transience, even loss. Loss is also embedded in Ashley Fiona's family <strong>of</strong> squeezed forms made as a therapeutic<br />

contemplative record <strong>of</strong> the passing <strong>of</strong> time since the loss <strong>of</strong> her mother. Passing time and events is also the concern<br />

<strong>of</strong> Deborah Burdett, whose strung discs form a biographical coded narrative <strong>of</strong> her life whilst amusingly referencing a<br />

Paul Smith colourway.<br />

<strong>The</strong> earliest ceramic artefact was a figu ri ne. <strong>The</strong>ories abound, but we're not really sure <strong>of</strong> its purpose or meaning.<br />

What would a future anthropologist have to say about Steve Davies'menacing rabbits? Fiona Fell, Amanda Shelsher<br />

and Steve Davies work in the realm <strong>of</strong> metaphor and symbology, almost magic realism where anything is possible.<br />

Amanda's work, although autobiographical, is metaphorical and dreamlike: myth made physical. Fiona Fell has always<br />

told stories, producing 'murky reminders <strong>of</strong> our own faults: For this show she has extended and challenged her<br />

vocabulary by working in collaboration with sculptor Lyndall Adams.<br />

Many people only want to hear true stories and, as we know, they are <strong>of</strong>ten stranger than fiction (and more tragic).<br />

Terry Davies mines his own heritage, making memorials to Cornish and Welsh presence in Australia. Recent tragedies<br />

are also a part <strong>of</strong> the stories here. In the manner <strong>of</strong> the Grecian urns, Marianne Huhn memorialises the tragedy <strong>of</strong> the<br />

refugee boat disaster <strong>of</strong>f Christmas Island in 2010 in images on the sides <strong>of</strong> her vessels. In a series <strong>of</strong> black scattered<br />

shards <strong>of</strong> burnt breakfast cereal and unidentifiable detritus, Mirta Ouro poignantly memorialises the Victorian bushfires.<br />

Memorialising is also the terrain <strong>of</strong> Julie Bartholomew who is dealing with endangered nowers and the fraught<br />

relationship between collecting, studying and preserving.<br />

Every pot has its story. <strong>The</strong>re is the material story, the making story and the story <strong>of</strong> use: the ChiPS, the cracks, the<br />

lime-worn patina <strong>of</strong> usage. <strong>The</strong>re are a number <strong>of</strong> themes being addressed in this exhibition - notions <strong>of</strong> materiality,<br />

family histories, personal mythologies, the environment, time and ceremony. <strong>The</strong> stories all overlap at some point.<br />

Author Peter Goldsworthy writes that stories are part <strong>of</strong> our common human nature: all cultures tell the same stories.<br />

We have some kind <strong>of</strong> innate narrative mechanism that IS hard-wired into our brains always trying to link things into<br />

stories, to connect things, make sense <strong>of</strong> them by stringing them into narratives.<br />

Perhaps the thing that drives us to make objects from clay is a result <strong>of</strong> this impulse to tell stories.<br />

Gerry Wedd l curator

TH ~<br />

NARRATIVr KNOT stories //I (i'l)/1I11C><br />

Julie Bartholomew<br />

This new series examines endangered <strong>Australian</strong><br />

flowers. Each species is contained within a vessel<br />

that references scientific apparatus and carries<br />

a narrative about the nower's life path and its<br />

endangered status.<br />

Julie Bartholomew, Endangered Flowers I (detail), <strong>2011</strong> , porcelain, slipcast, hand built, decals, glaze, diam.l Oem<br />

photo: Julie Bartholomew<br />

Mollie Bosworth, Scattered Possibilities, <strong>2011</strong>, porcelain, multi-fired, laser print transfers, slips, engobes, washes,<br />

dry glazes, installation, h.7cm, w.8Ocm, d.6Ocm; photo: Mollie Bosworth<br />

Mollie Bosworth<br />

Seeds are repOSitories<br />

<strong>of</strong> immense energy and<br />

potential. Deceptively<br />

simple forms, based upon<br />

the seed <strong>of</strong> E/aeocarpus<br />

bancr<strong>of</strong>tii (Kuranda<br />

Quandong), conceal<br />

extraordinary na rratives <strong>of</strong><br />

great complexity and the<br />

measured development over<br />

millennia. <strong>The</strong>y are sized to<br />

fit in the hand.

TH[ NARRATIVE KNOT rtormmrmllflics<br />

Deborah Burdett<br />

Shorr Ufe is from my Chronos<br />

series <strong>of</strong> biographical and<br />

autobiographical works.<br />

It chronicles my friend's<br />

life in five decades, and is<br />

colour coded to depict his<br />

childhood to the present,<br />

including his children, jobs,<br />

domiciles and loves.<br />

Deborah Burdett, Short Ufe, <strong>2011</strong>, stained porcelain, black/saggar-fired; photo: Stephen Varady<br />

Barbara Campbell-Allen, Orange White Construct, <strong>2011</strong>, stoneware paperclay, slips, natural ash glaze<br />

h.24cm, w.26cm, d.14cm; photo: Alex Kershaw<br />

Barbara Campbell-Allen<br />

Through my processes <strong>of</strong><br />

making and woodfiring,<br />

the form and surfaces <strong>of</strong><br />

my constructs exist as<br />

metaphors <strong>of</strong> stories <strong>of</strong><br />

creation and destI'uction.<br />

<strong>The</strong>y read as archaeological<br />

artefacts, embodying the<br />

compressed energy <strong>of</strong> the<br />

elemental forces <strong>of</strong> nature.

THE NARRATIV[ KNOT ,/uri," 1rI !'alllm,.,<br />

Kris (oad<br />

I am interested in the spiritual and daily ritual<br />

<strong>of</strong> different cultures; the wayan object, symbol,<br />

mark or shadow and its placement can trigger an<br />

emotional response, I make contemplative pieces<br />

that have a stillness and silence in an increasingly<br />

complex world,<br />

Kris (oad, Journey series, <strong>2011</strong> , bone china, porcelain, chamotte clay boxes, cast, hand-formed<br />

h.5Ocm, w.15Ocm, d.15Ocm; photo: artist<br />

Steve Davies, Alone Gorden Psychopath - pink rabbit with 9 cocks, handbuilt, porcelain clay, glaze, underglaze stains,<br />

oxides, ceramic decals, mUltiple firings, h.48cm, w.22cm, d.15cm; photo: Linda Cunningham<br />

Terry Davies, Minehead I, <strong>2011</strong>, handbuilt, polished porcelain, black pigment. gold lustre, h5Ocm, w.37cm, d.22cm<br />

Photo: Amanda Shaw<br />

Steve Davies<br />

Encoded with layers <strong>of</strong> data - words, numbers, images<br />

and equations - these objects present a visual metaphor<br />

for our desire to find meaning within the complex <strong>of</strong><br />

contemporary culture, suggesting a figurative power<br />

which embodies thoughts and emotions that may have<br />

their origins in childhood, but are not childish.<br />

Terry Davies<br />

After resea rching the history <strong>of</strong> the Victorian goldfields<br />

around Ballarat, engaging with local people and viewing<br />

their photographic memorabilia, a figure emerged in my<br />

mind's eye that embodied people and place - a reg ional<br />

man ...

TH [ NARRATIVE KNOT storie; ill em/min<br />

Trisha Dean<br />

Over time I have reflected upon the evocative<br />

nature <strong>of</strong> simple clay objects. Working with<br />

clay is my first and most enduring love. It is my<br />

'making' and 'unmaking' - tactile, responsive,<br />

direct, elemental - the act <strong>of</strong> touching,<br />

shaping and forming, with my own hands .<br />

•<br />

"<br />

Trisha Dean, This is My Story (detail), <strong>2011</strong>, Cool Ice porcelain; photo: artist<br />

lynda Draper, Home Alta! (detail), 2010, handbuilt porcelain, multiple glaze firings, various dimensions; photo: artist<br />

l ynda Draper<br />

My work has grown<br />

from an interest in the<br />

metaphysical aspects <strong>of</strong><br />

the domestic souvenir,<br />

evolving in reply to<br />

the evocative nature<br />

<strong>of</strong> a group <strong>of</strong> souvenirs<br />

collected from my<br />

childhood home prior to<br />

its sale and demolition.

Tllr NARRATIVE KNOI ,iUI;";II(t'nllIlW<br />

Helen Earl<br />

v<br />

r<br />

! I \<br />

Safe Harbour seeks to<br />

conflate the ordinary,<br />

everyday domestic<br />

realm with broader<br />

narratives <strong>of</strong> human<br />

interaction within the<br />

natural environment.<br />

My intention is to<br />

enlarge the idea <strong>of</strong><br />

domestic threshold<br />

and draw the viewer<br />

into contemplation <strong>of</strong><br />

issues <strong>of</strong> environmental<br />

concern.<br />

Helen Eart, Safe Harbour, installation, <strong>2011</strong>, porcelain, found driftwood, h.175cm, w.152cm, d.7.5cm; photo: artist<br />

Fiona Fell and Lyndall Adams, One Night Stock, 2010, porcelain paperclay, glaze, digital print on acrylic, timber,<br />

h.l BOcm, w.17Ocm, d.65cm; photo: artist<br />

Ashley Fiona, Four thousand two hundred and ten (detail), <strong>2011</strong> , porcelain, hand built, various dimensions; photo: artist<br />

Fiona Fell and Lyndall Adams<br />

I attempt to capture a particular poetiC moment; <strong>of</strong>ten<br />

not pleasurable but an uncomfortable strangeness that<br />

forms a voice <strong>of</strong> its own and has an urgency to be told.<br />

In this installation a narrative <strong>of</strong> emotional sustainability<br />

unfolds between figures, contrasting materials and<br />

surfaces.<br />

Ashley Fiona<br />

Four thousand two hundred and ren attempts to bridge<br />

the gap between memories and time, referring to the<br />

number <strong>of</strong> days between my mother's passing and the<br />

opening <strong>of</strong> <strong>The</strong> NarroNve Knot. Spices, integrated into the<br />

work, activate olfactory senses making my memories<br />

bona fide and true to life.

TH [ NARRAT IVE KNOT SIOTies '" emlfllin<br />

Honor Freeman<br />

A friend recently learnt the<br />

sandwiches he consumed<br />

from his lunchbox as a small<br />

boy were made from the<br />

crumb-soiled scrapings <strong>of</strong><br />

margarine from the side <strong>of</strong><br />

the container. I enjoy the<br />

parallels between adions<br />

and gestures used when<br />

engaging wi th objects<br />

and those used during the<br />

process <strong>of</strong> making.<br />

Honor Freeman, Scrapings and Gratings, <strong>2011</strong> , handbuilt porcelain, found object, h.l6Cm, w.3Ocm, d.26Cm<br />

Photo: Sandy Edwards<br />

Shannon Garson, <strong>The</strong> Wa/lum & My Nana, 8 pieces, <strong>2011</strong> , porcelain, thrown, altered, glaze, underglaze<br />

terra sigillata, h.2Ocm, w.4Ocm, d.2Scm; photo: artist<br />

Shannon Garson<br />

It is almost like there are two maps: the map I have drawn (the artwork) with its content, panern and language; and a<br />

previous one in the audience's head, a more personal map involving their history <strong>of</strong> eating, drinking, loving, hating, and<br />

feeling tired, elated, sexy, sad or contented.

TH E NARRATIVr KNOT "/ol·i,, //I rrmmie,<br />

Amanda Hale<br />

My ceramic paintings attempt 10<br />

capture an ever-changing sky ,n<br />

an ever-changing and contested<br />

landscape. <strong>The</strong>y are sketches, set in<br />

stone, <strong>of</strong> fleeting moments designed<br />

10 be arranged and re-arranged to<br />

create a landscape <strong>of</strong> vessels.<br />

Amanda Hale, Narrative Lnndscape (detail), <strong>2011</strong>, slabbuilt, coloured slips, copper oxide, cone 6, h.5Ocm, w.17Ocm<br />

d.3Ocm; photo: Innocenza Toritto<br />

Christopher Headley, <strong>50</strong>10 Tango, <strong>2011</strong>, moulded, slip-cast, joined white earthenwa re, customised ceramic decals<br />

gold lustre, h.5Ocm, wAOcm, d.3Ocm; photo: artist<br />

Christopher Headley<br />

I grew up in a small English<br />

village in Yorkshire. By the<br />

19<strong>50</strong>5, the airOeld was<br />

long since redundant and<br />

abandoned and had become a<br />

giant adventure playground for<br />

the kids in the Village. All we<br />

had to do was slip through the<br />

hole in the hedge, jump across<br />

the beck and hop across the<br />

back lane.

TH[ NARRA II V~ KNOT ,toTies in ummll1<br />

Mary-Iou Hogarth<br />

I like my pieces to tell the small<br />

stories. I imagine them echoing<br />

through the generations .<br />

"Here is something to remembe(<br />

Mary-Iou Hogarth, Uncle Teddy's Triptych, <strong>2011</strong>, slab-built, earthenware, underglazes; centre, Uncle Teddy<br />

h.35cm w.l6cm, d.15cm; photo: Regi Penn<br />

Jan Howlin, Tools <strong>of</strong> Engagement (detail), <strong>2011</strong>, handmade, press-moulded, colour-stained clay, glaze, glue metal<br />

fittings; mug, h.13cm, w.11 cm, d.9.5cm; photo: Anthony Browell<br />

Marianne Huhn, Vulnerable Vessels (detail), <strong>2011</strong>, Limoges porcelain, incised, black stain, coloured under glaze<br />

redudion fired, h.l4cm, w.7cm; photo: Christopher Sanders<br />

Jan Howlin<br />

Tools <strong>of</strong> Engagement is a colieGlon <strong>of</strong> domestic objects<br />

created in a range <strong>of</strong> camouflage patterns to reflect<br />

household interiors. Based on ideas about the fantasy <strong>of</strong><br />

domestic bliss and its corollary, the 'happy families' fa,ade.<br />

Choose your weapons; prepare for action!<br />

Marianne Huhn<br />

<strong>The</strong> inspiration for this work began in December<br />

20 I 0 - the refugee boat disaster near Christmas<br />

Island. I realised that these stories <strong>of</strong> migration<br />

were not new to Australia. I drew the cliffs <strong>of</strong><br />

Ch ri stmas Island into the visual narrative as a<br />

metaphor for the barriers, the walls, we ourselves<br />

put up.

H r NARRATIVr KNO I .,torin III "''''111('<br />

Liz low<br />

In natute, we may look at a single<br />

pebble with its own unique<br />

history. Here we see strands<br />

<strong>of</strong> pebbles, each begillning<br />

separately and bearing its<br />

own narrative. <strong>The</strong>y twine and<br />

consolidate to form a storyline<br />

culminating in a cairn - the<br />

narrative knot.<br />

Liz Low, A Pebble Tale (detail), <strong>2011</strong>, thrown and shaped stoneware and porcelain, h.3Ocm, w.16Ocm, d.6Ocm<br />

Photo: Andrew Bareham<br />

Janet Mansfield, Rock Box, 2010, woodfired, anagama kiln, h.ll em, w.l6cm, d.15cm; photo: Greg Daly<br />

Janet Mansfield<br />

I do not seek a literal translation but I want to tell the story <strong>of</strong> the land, the poems<br />

<strong>of</strong> the trees, the scribbles left by the insects I see beneath the bark when I stoke<br />

my kiln with the wood that has fallen on the land.

TH [ NARRATIVE KNOT slories /11 cerarnics<br />

Pru Morrison<br />

Ode on a Grecian Urn is a poem<br />

written by English Romantic poet<br />

John Keats in 1819. Divided into five<br />

stanzas <strong>of</strong> ten lines each, the ode<br />

contains a narrator's discourse on a<br />

series <strong>of</strong> designs on a Grecian urn.<br />

Pru Morrison, Ode in Five Stanz05, <strong>2011</strong>, porcelain, terra sigillata, glaze, slipcast, hand built, h.35cm, w.48cm, d.1 Oem<br />

Photo: artist<br />

Mirta Ouro, Remaining Vestiges (detail), <strong>2011</strong>, porcelain, sawdust-fired, h.76.5cm, w.6Icm, d.3cm<br />

Photo: Andrew Barcham<br />

Mirta Ouro<br />

Remaining Vestiges represents<br />

the devastation caused by<br />

bushfires burning through forest<br />

and towns leaving decimated<br />

townships, displaced people<br />

and destroyed nature. To create<br />

my work I use porcelain shards,<br />

squiggles and shapes obtained<br />

by dipping cereals in porcelain .

T il [ NARRATIVE KNOT JI(lrm 11/ (",,"nW<br />

Robyn Phelan<br />

<strong>The</strong>re is a natural inclination to make<br />

connections In all we see and feel.<br />

Presented with groups <strong>of</strong> objects devoid<br />

<strong>of</strong> decoration, the mind begins to conjure<br />

meanings (rom the relationship between<br />

one form and the next.<br />

Robyn Phelan, Cloud Dreaming Game, <strong>2011</strong> (detail), stoneware clay and glaze, hand-coiled, pinched<br />

h.5Ocm, w.l6Ocm, d.1Scm (various); photo: Christopher Sanders<br />

Amanda Shelsher, Nesting, <strong>2011</strong>, earthenware, slips, stains, wax, handbuilt, h.39cm, w.35cm, d.44cm; photo: Bill Shaylor<br />

Dee Taylor-Graham, Spin a Yarn: Shirl polishes the silver in preparation for a special afrernoon rea, <strong>2011</strong>, performance,<br />

found objects, porcelain, h.2m, w.2m, d.l m; photo: Esther Shilling<br />

Amanda Shelsher<br />

Nesring is autobiographical - she is a reflection <strong>of</strong> my<br />

thoughts about my life w ith my young children, and our<br />

love <strong>of</strong> nature and our local flora and fau na in Western<br />

Austral ia.<br />

Dee Taylor-Graham<br />

Everyone's favourite tea lady, Shirl is back in the<br />

g allery. This tirne she's brought out the good<br />

tea set and a comfy s<strong>of</strong>a and would love you to<br />

join her for a tete-a-tete. Come and spin a yarn<br />

with Shirl, over a nice hot cup <strong>of</strong> tea.

THE<br />


stories in ceramics<br />

2 December <strong>2011</strong> - 22 January 2012<br />

A Manly Art Gallery & Museum exhibition presented in partnership<br />

with <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association<br />

Opening Night<br />

Friday 2 December <strong>2011</strong>, 6 - 8pm<br />

by H.G. Nelson<br />

Artists' and Curators' floor talk<br />

Sunday 4 December, 3pm<br />

with Gerry Wedd and Dee Taylor-Graham<br />

Artists' floor talk<br />

Sunday 11 December, 3pm<br />

with Vicki Grima<br />

<strong>The</strong> Austra lian <strong>Ceramics</strong> Association<br />

NSW artsnsw<br />

Manly Art Gallery & Museum<br />

West Esplanade Reserve, Manly NSW 2095<br />

Australia<br />

T: +61299761420<br />

E: artgallery@manly.nsw.gov.au<br />

www.manly.nsw.gov.au/ attractions/art-gallery-museum/<br />

Tuesday - Sunday, 1 Oam - 5pm<br />

Free Entry

Promotion<br />



An overview by Danielle Robson<br />

HYPERCLAY: Contemporary <strong>Ceramics</strong> presents work by eight <strong>Australian</strong> artists that ignite the<br />

imagination with the potential <strong>of</strong> this time-honoured material, exploring new modes <strong>of</strong> practice in the<br />

21st century. <strong>The</strong> word 'hyper' is <strong>of</strong>ten used as a prefix to suggest amplification, intensification and<br />

expansion, implying a heightened version <strong>of</strong> the word it precedes. To this end, the artists in HYPERCLAY<br />

are expanding definitions <strong>of</strong> ceramics beyond the traditional archetypes <strong>of</strong> utility and function.<br />

Roderick Bamford<br />

<strong>The</strong> Sequestrator: To-be (Jug)<br />

<strong>2011</strong>, porcela;n<br />

Photo: Jamie Williams<br />

Featuring work by Walter Auer, Roderick Bamford, Stephen Bird, Jacqueline Clayton, Andrea Hylands,<br />

Addison Marshall, Pip McManus and Paul Wood, HYPERCLAY pr<strong>of</strong>iles emerging makers alongside more<br />

established practitioners. New technologies, the process <strong>of</strong> making and the re-purposing <strong>of</strong> materials to<br />

create new forms are the delicate threads that bind the works together.<br />

Happily drifting across classification, Roderick Bamford has been described as an artist, designer,<br />

studio potter and craftsperson. Here he explores the process <strong>of</strong> additive fabrication, creating a series<br />

<strong>of</strong> ceramic sculptures using a modified rapid prototyping printer. Bamford sourced the parts for his 3D<br />

printer online, gradually building a machine that could print with clay, incorporating both analogue and<br />

digital techniques.<br />

Meanwhile, Stephen Bird presents two works that also play at the intersection <strong>of</strong> the digital and the<br />

handmade. Wanting to reveal the sequence <strong>of</strong> events that takes place when transforming raw clay into<br />

a finished sculpture, Bird created the stop-frame clay animation What are you laughing at? <strong>The</strong> work<br />

is a re-telling <strong>of</strong> the Creation Story through the lens <strong>of</strong> the post-industrial world.<br />

Similarly, I Just Don't Believe in <strong>Ceramics</strong> elevates surface decoration from static and permanent to<br />

evolving virtual design.<br />


Promotion<br />


Contemporary <strong>Ceramics</strong><br />

is showing at<br />

Object Gallery until<br />

8 January 2012.<br />

It will then tour<br />

nationally until 2014.<br />

1 Pip McManus. Watershed 2. <strong>2011</strong><br />

video, 22 minutes; photo: Jamie Williams<br />

2 Walter Auer. <strong>The</strong> Anarchist. <strong>2011</strong><br />

clay (terra sigillata); photo: Jamie Williams<br />

3 Stephen Bird, I Just Don't Believe in<br />

<strong>Ceramics</strong>, <strong>2011</strong> . digital WMV file, ceramic<br />

plates; photo: Jamie Williams<br />

4 HYPERCLAY: Contemporary<br />

<strong>Ceramics</strong> at Object Gallery. <strong>2011</strong><br />

Photo: Jamie Williams<br />

5 Andrea Hylands, New Warriors <strong>2011</strong><br />

porcelain and found object<br />

Photo: Andrew Bareham, Screaming Pix.el<br />

Whilst Bird's work renders the craft <strong>of</strong> making as performance, New Warriors by Andrea Hylands captures<br />

the performance <strong>of</strong> material itself. Her fragile forms are the product <strong>of</strong> bone china slip poured into a mould<br />

and then removed at varying durations. This process is a balance between the spontaneity <strong>of</strong> movement and<br />

material and the precision <strong>of</strong> the artist's hand.<br />

Conversely, ceramicist Walter Auer performs the role <strong>of</strong> the anti-maker in HYPERCLAY. He is interested in<br />

transformation and the preservation <strong>of</strong> objects through a mummifying process that he has been experimenting<br />

with for nearly ten years. Auer soaks discarded s<strong>of</strong>t toys in terra sigillata for weeks - even months<br />

- before submitting them to a gruelling firing process that carbonises the exterior and<br />

retains remnants <strong>of</strong> the original object in the ashen shell casing.<br />

Like Auer, Pip McManus is interested in transformation.<br />

Combining clay, sand, water and video, McManus has<br />

created a 22-minute video work entitled Watershed 2<br />

that engages with ideas <strong>of</strong> permanence, impermanence<br />

and organic forms. McManus dissolves the boundaries

1 Addison Marshali, Satellite Series, 2010-11 , clay, glaze<br />

cotton thread. ToothpICks. wooden and bamboo skewers<br />

Photo: Jamie Williams<br />

2 Jacqueline Clayton, Rilke and the Autoclave (detail)<br />

<strong>2011</strong>, face powder, modified porcelain, laboratory glass<br />

Photo: Jamie Williams<br />

3 Paul Wood, Guardians <strong>of</strong> a Goddess, <strong>2011</strong>, refired<br />

ceramics. glass; photo: Jamie Williams<br />

between creative disciplines with the ancient medium <strong>of</strong> clay effortlessly in conversation with the<br />

contemporary medium <strong>of</strong> video.<br />

Paul Wood scours op shops, thrift stores and neighbourhood gardening centres for pre-loved ceramic<br />

objects that he then re-fires, melts and slumps to create dramatic new sculptures. For Guardians<br />

<strong>of</strong> a Goddess Wood has crafted an ode to the ornamental water features that proudly sat in the<br />

neighbourhood gardens <strong>of</strong> his childhood.<br />

Fusing ceramics, tapestry and micro-engineering, Addison Marshall creates works that explore form,<br />

colour and tension. Toothpicks, fluorescent cotton thread and skewers are meticulously hand woven<br />

through punctured clay discs. <strong>The</strong> final pieces echo relationships and intimacy, with the clay literally<br />

leaning on the found materials for stability and support.<br />

Face powder is formulated w ith the key ingredients that make up a classic earthenware body. In Rilke<br />

and the Autoclave, Jacqueline Clayton has moulded porcelain and face powder into flowers, conjuring<br />

associations with female practice and socially mandated artifice. Displayed in scientific glassware on an<br />

antique steriliser unit, Rilke and the Autoclave alludes to classification, order and renewal.<br />

<strong>The</strong> exhibition itself explores new ways <strong>of</strong> integrating digital content into the gallery space . A<br />

collection <strong>of</strong> 35 short videos accompany the work in HYPERCLAY, including interviews with the artists,<br />

curators, academics, collectors, galierists and students. <strong>The</strong>y <strong>of</strong>fer varied perspectives on the works, a<br />

holistic viewing experience, and deeper engagement with the artwork and artists themselves.<br />

Danielle Robson is Producer: Programs and Research at Object: <strong>Australian</strong> Centre for<br />

Craft and Design.<br />


~ /81 __ /. ==-/

Workshop<br />

Dickie Minyintiri and Simon Reece at Ernabella (Dickie won the National Aboriginal & Torres Strait Islander Art Award in August)<br />

Photo: Julian Green<br />

Watiku Workshop.<br />

Minyma Wiya!<br />

(Men's Workshop. <strong>No</strong> Women!)<br />

Jody Lee discusses the inaugural men's workshop at Ernabella Arts<br />

In April 2010, Honor Freeman and Luke Mount ran a ceramic workshop at Ernabella Arts. <strong>The</strong> studio<br />

was filled with women coil building. For the first time, Pepai Carroll sat down to experiment with clay.<br />

He made two small pots before returning to the men's painting room, declaring, "Pampa tjuta, minyma<br />

tjuta, kungka tjuta; noise tjuta (Lots <strong>of</strong> women <strong>of</strong> all ages, lots <strong>of</strong> noise). "<br />

A seed was planted though, as the simple sgraffito landscapes marked on those pots drew attention.<br />

After discussions with Ngunytjima Carroll and Hudson Alison (the two male art workers with ceramic<br />

training), the idea <strong>of</strong> a men-only ceramic workshop took shape. Anangu men and women working in<br />

art centres across the Anangu Pitjantjatjara Yankunytjatjara (APy) Lands paint in separate studios, from<br />

cultural tradition. Having a wati (men's) workshop was a first for Ernabella, as until then the ceramic<br />

studio had very much been a female domain.<br />

Potential participants talked about what they wanted. Culturally, it was important that men conduct<br />

the workshop. Different techniques and materials suitable for the types <strong>of</strong> forms they wanted to make<br />

were discussed. Simon Reece was invited to conduct a slab-building workshop, and was asked to find<br />


Workshop<br />

another potter who would be prepared to live<br />

and work with him for a few weeks in a remote<br />

community. Being able to adapt to the APY Lands<br />

was a major consideration. <strong>The</strong> conditions can<br />

be confronting for a first-time visitor with factors<br />

such as isolation, extreme weather, language<br />

barriers, cultural differences and different<br />

priorities meaning that the best laid plans never<br />

go to plan. Of course, the randomness <strong>of</strong> this<br />

only excites potters looking for a challenge.<br />

Kirk Winter came on board and a successful<br />

funding application was put to the Australia<br />

Council's Aboriginal and Torres Strait Islander Arts<br />

Board for a Skills and Arts Development grant.<br />

For the inaugural <strong>2011</strong> wati workshop there<br />

were eleven main participants: Ngunytjima<br />

Carroll, Hudson Alison, Pepai Carroll, Gordon<br />

Ingkatj i, Andy Tjilari, Dickie Minyintiri, Paul<br />

Andy, Derek Thompson, Kevin Morris, Anslem<br />

Morris and Ja rred Jangala Robertson. Apart from<br />

Ngunytjima and Hudson, none had previous<br />

ceramic experience, providing Simon and Kirk<br />

with some definite challenges. It was a dynamic<br />

and busy few weeks. Big work was being made<br />

and keeping the women away from the ceramic<br />

studio was a constant struggle.<br />

Again, Pepai sat down to work with clay.<br />

"I was trying different things, just learning. I<br />

watched others then tried myself, saying, 'Oh<br />

that's how it is'. <strong>The</strong> two young men were good<br />

teachers, showing us how to do it." 1<br />

1 Jarred Jangala Robertson<br />

2 Derek Thompson<br />

3 Pepai Carroll<br />

Photos: Julian Green<br />

Simon and Kirk also learned a great deal,<br />

amazed at the adaptability <strong>of</strong> the men moving<br />

eaSily from painting to ceramics. Simon describes<br />

the men "making marks with such skill and<br />

dexterity in sgraffito technique" as something he<br />

will never forget; "creating their Tjukurpa (stories)<br />

with graceful carving that seemed to spring from<br />

an innate and natural inspiration" .<br />

<strong>The</strong> resulting work was exhibited at Raft<br />

Artspace in Alice Springs, August 201 1. Gordon<br />

Ingkatji and Pepai Carroll attended the opening.<br />

Pepai spoke, expressing in his language the men's<br />


enjoyment <strong>of</strong> working in the studio for the first<br />

time together, and recalling the singing and<br />

story-telling that took place amongst the old<br />

men - Andy, Dickie and Gordon.<br />

1 Pepai Carroll in conversation with Dr Diana James from the<br />

Austrahan National University, translated from Pltjantjatjara by<br />

Dr James.<br />

lody lee wrote and edited the article in<br />

consultation with Ernabella Arts Chair Pepai<br />

Carroll and co-ordinators <strong>of</strong> the project,<br />

Julian Green and ceramicist Simon Reece.<br />

www.ernabellaarts.com.au<br />

1 Paul Andy with pre-fired work<br />

2 Kevin Morris working<br />

3 Detail <strong>of</strong> stoneware sgraffito work. in progress<br />

by Gordon Ingkatji<br />

4 Three unbisqued terracotta works: foreground<br />

Dickie Minyintiri; background, two works by Pepai Carroll<br />


View<br />

Arthur Boyd, Bride over Pond with Dog, c. 1965, white earthenware tile, hand ~formed, white engobe, painted in yellow,<br />

black, brown, green underglaze colours, incised, dear glaze, h.34.2cm, w.44.5cm; photo: courtesy Bundanon<br />

White Gums and Ramoxes<br />

Damon Moon reviews ceram ics by Merrie and Arthur Boyd<br />

from the Bundanon Trust Collection<br />

My only quibble with this exhibition, expertly curated by Grace Cochrane, is that it is somewhat<br />

misnamed as it includes just as many paintings, drawings and prints as it does ceramics, all tracing the<br />

lineage <strong>of</strong> an artistic language from William Merrie Boyd to his son, Arthur Merrie Boyd.<br />

And a fascinating language it is, chock full <strong>of</strong> colloquialisms and allusions, in equal measure childlike<br />

and poignant as private languages tend to be.<br />

<strong>The</strong> Boyds being Boyds, this artistic lineage isn't just restricted to (William) Merrie Boyd and Arthur<br />

(Merrie) Boyd. Although Arthur was indisputably the most well known <strong>of</strong> Merrie Boyd 's five children,<br />

there were accomplished artists preceding, surrounding and extending beyond these two. This exhibition<br />

wisely restricts itself to a more manageable domain, so we have the Boyd genius (or if not genius, then<br />

at least talent) distilled, and as contained as such an improbable thing can be.<br />

Given the extensive touring schedule, the exhibition is not overly large but this works to its advantage<br />

and one gets the impression that there is very little padding. And there is an excellent catalogue, which<br />

should be a welcome addition to the library <strong>of</strong> anyone interested in the history <strong>of</strong> <strong>Australian</strong> art.<br />


View<br />

As to the work displayed, the paintings and prints <strong>of</strong> Arthur Boyd are already well known but there<br />

are other things - for example, some early drawings <strong>of</strong> Merric Boyd and the ceramic plaques <strong>of</strong> Arthur<br />

Boyd - that are rarely seen in public collections.<br />

I must admit to finding aspects <strong>of</strong> this exhibition quite confronting and to being challenged by the<br />

apparently seamless merging <strong>of</strong> naivety and sophistication embodied in the work. <strong>The</strong> overwhelming<br />

impression I am left with is that Merric Boyd, despite the accomplishments <strong>of</strong> both his parents and<br />

siblings, was somehow born an innocent. He wasn't a naIve artist, charming but unschooled, nor was<br />

he an 'outsider' in the true sense <strong>of</strong> the word - when your parents are graduates <strong>of</strong> the Royal College<br />

<strong>of</strong> Art and your siblings are famous painters and novelists you just don't have that luxury - but Merric<br />

never quite belonged and that is very evident in his work. Some <strong>of</strong> the early drawings are a revelation<br />

and, selected and displayed as they are here in their most favourable light, they bring to mind early<br />

expressionism, a movement that was contemporaneous with the earliest work on show. Others are, at<br />

least to my eye, a little too clumsy, more childish than childlike. As for the ceramics, for which Merric<br />

Boyd is best known, they are very much <strong>of</strong> the era. I find it hard to interpret them now and to see<br />

what virtues so recommended them to an earlier audience, but this type <strong>of</strong> early '<strong>Australian</strong>a' fetches<br />

enormous sums at auction and is keenly sought by collectors. <strong>The</strong>se pots represent some <strong>of</strong> the very<br />

first examples <strong>of</strong> 'art pottery' to be made in this country and as such are the progenitors <strong>of</strong> much <strong>of</strong> the<br />

ceramics movement that was to follow, in all its permutations.<br />

Although Arthur Boyd is best known as one <strong>of</strong> the most important <strong>Australian</strong> painters <strong>of</strong> the second<br />

half <strong>of</strong> the twentieth century, this exhibition casts a welcome light on his early ceramic work. <strong>The</strong>re<br />

are functional works and sculptures and a few wonderful wall plaques, ceramic paintings executed<br />

in a luminous palette <strong>of</strong> lead-glazed<br />

earthenware.<br />

I found myself wishing that he had<br />

pursued this medium longer, as there is<br />

something about the light emanating<br />

from the glazed surface that fitted well<br />

with the narrative content <strong>of</strong> the work.<br />

Instead, Arthur Boyd's eventual fame<br />

rested on the type <strong>of</strong> work which greets<br />

the viewer as they enter the exhibition:<br />

two large paintings, one <strong>of</strong> which, in<br />

a lovely curatorial turn, depicts a small<br />

ceramic head modelled by Merric Boyd<br />

<strong>of</strong> his infant son, Arthur. <strong>The</strong>re is also a<br />

series <strong>of</strong> wonderful prints by Arthur Boyd,<br />

executed in London in the late 1960s, in<br />

which the figure <strong>of</strong> the potter assumes<br />

an almost mythological status, conjuring<br />

shapes at the wheel in an act <strong>of</strong> manic<br />

creation.<br />

M errie Boyd, Trees, 19<strong>50</strong>, pencil and<br />

watercolour on paper. h.24.7cm. w.18cm<br />

Photo: courtesy Bundanon<br />


View<br />

Ultimately, I found myself wondering whether<br />

this exhibition would have been as impressive had<br />

it just restricted itself to the ceramic production<br />

<strong>of</strong> the Boyd's, and I think that the answer has<br />

to be no. Some <strong>of</strong> the ceramics on display here<br />

are fully the equal <strong>of</strong> the other work, even<br />

outshining it at times, but the problem is that<br />

the Boyd's ceramics are all grounded in painting<br />

and sculpture and in the European decorative<br />

tradition . <strong>The</strong>y are as removed from the graceful<br />

and self-contained models <strong>of</strong> Oriental ceramics as<br />

it's possible to be, relying as they do on charm or<br />

the novelty <strong>of</strong> surface to overcome clunky forms<br />

and a fa irly amateurish tech nique. As Cochrane<br />

quotes Peter Herbst ' , a potter who worked at the<br />

Arthur Merrie Boyd Pottery (AMB Pottery), when<br />

speaking about their products, "We avoided<br />

'good taste' like the plague ... "2<br />

Arthur Boyd, Potter Fallen beside Sculptured Head<br />

1968--69, needle etching and sugariift aquatint on paper<br />

h.64cm, w.52cm<br />

Seen in that light, historians <strong>of</strong> the<br />

development <strong>of</strong> <strong>Australian</strong> ceramics might<br />

understand why this work was so ignored by<br />

the early exponents <strong>of</strong> the Leach derived Anglo Oriental model <strong>of</strong> pottery, with its emphasis on classical<br />

Chinese, Korean and Japanese ceramics executed in a muted stoneware palette. Many <strong>of</strong> the early<br />

powerbrokers <strong>of</strong> <strong>Australian</strong> ceramics had a virulent dislike <strong>of</strong> decorated earthenware, dismissing out <strong>of</strong><br />

hand any contemporary ceramics that employed these techniques, the Boyds' included. Which is a pity;<br />

because, quite frankly, most <strong>of</strong> these same practitioners simply did not have the breadth <strong>of</strong> knowledge<br />

1 Arthur Boyd, Merrie Boyd jug and head <strong>of</strong> his son Arthur Boyd, 1980, oil on canvas, h.18.3cm, w.17.5cm<br />

2 Merrie Boyd, Head <strong>of</strong> Arthur Boyd aged three months, 1920, pale pink earthenware, handformed, unglazed<br />

h.12.4cm, w. 14cm: photos: courtesy Bundanon<br />

2<br />


Merrie Boyd, Jug w;rh Trees. 1925. buff earthenware. wheelthrown, carved and modelled tree-form, grey engobe. paInted<br />

blue and green underglaze colour, blue interior, clear glaze. h.18.5cm, w.23.7cm; photo: courtesy Bundanon<br />

or flexibility <strong>of</strong> mind to comprehend the Boyds' freely expressive approach. In short, they were not really<br />

artists, whereas the Boyds most emphatically were.<br />

In the end, like all good exhibitions, White Gums and Ramoxes - ceramics by Merric and Arthur<br />

Boyd from the Bundanon Trust Collect ion raises as many questions as it answers. Due to projects<br />

such as this, the role <strong>of</strong> ceramics within the vast artistic output <strong>of</strong> the Boyd family is well established -<br />

it would now be interesting to see how the ceramic work <strong>of</strong> the Boyd 's stacks up against later influences<br />

which re-introduced the concept <strong>of</strong> low-fired, irreverent ceramics into the mainstream.<br />

1 Peter Herbst was later to become Pr<strong>of</strong>essor <strong>of</strong> Philosophy at the <strong>Australian</strong> Naoonal UnJVefSlty.<br />

2 p. 63 'White Gums and Ramoxes: <strong>Ceramics</strong> by Merrie & Arthur Boyd from the Bundanoo Trust CollectIOn' by Grace Cochrane,<br />

Bundanon Trust 2009.<br />

Damon Moon. Willunga, <strong>2011</strong><br />



l eft: Tjariya Stanley, Kapi Tiukula munu Karu (Waterholes and Creeks); centre: Pantjiti Lionell, Kapi Tjukula<br />

(Waterho/es); right: Ungakini Tjangala, Kapi Tjukufa munu Kampara (Waterho/es and Bush Tomatoes), <strong>2011</strong><br />

handbujJt terracotta and white earthenware, slip, black stain, sgraffito, 11000(, h.18cm, w.14cm; photo: Ruth McMi Jian<br />

Two Communities -<br />

the language <strong>of</strong> Clay<br />

Cathy Franzi reports on an exhibition by Indigenous artists at<br />

Strathnairn Homestead Gallery<br />

Within a decade <strong>of</strong> the introdudion <strong>of</strong> ceramic process, the remote Indigenous artists <strong>of</strong> Ernabella<br />

are rapidly gaining recognition for their exciting contemporary ceramics. A stunning range <strong>of</strong> work<br />

was exhibited at Strathnairn Homestead Gallery in Canberra during April 20 11. Featured artists from<br />

the desert community were Alison Carroll, Malpiya Davey and Carol Williams, along w ith Robert<br />

Puruntatameri, a second generation ceramic artist from the Tiwi Islands, north <strong>of</strong> Darwin.<br />

As the title suggests, these two remote but geographically different communities share the practice <strong>of</strong><br />

ceramics in their arts centres. Coming together to exchange knowledge and to provide support through<br />

workshops and residencies at each other's communities and at the <strong>Australian</strong> National University and<br />

Strathnairn Arts, this exhibition is the latest for the Remote Communities <strong>Ceramics</strong> Network. In the<br />

show were vases, cyli ndrical vessels, large platters and domed sculptural pieces, unified through the<br />

use <strong>of</strong> striking carved patterns and the earthy colours <strong>of</strong> white, terracotta and black. This unity gave<br />

strength to the body <strong>of</strong> work as a whole; however each piece also spoke individually, enticing the viewer<br />

to come closer to study the surface and to engage intimately with its story.<br />

<strong>The</strong> Ernabella artists use a fine red slip made from their local earth and cultural imagery to capture<br />

a sense <strong>of</strong> place in their decoration on the vessels made by ledurers and students from the ANU. In<br />

the strong sgraffito lines and blocks <strong>of</strong> colour, one can see the tracks <strong>of</strong> emu across the sand, the focal<br />

point <strong>of</strong> water holes, the rhythm and patterns <strong>of</strong> the wind etching contours in the sand dunes and the<br />


View<br />

I Carol Williams. Ngaya Walka. <strong>2011</strong><br />

wheel thrown stoneware. Ernabella terra<br />

si9illata, black stain, sgraffito, 1140"(<br />

h.36cm, W,I4cm<br />

2 Alison Carrol. Minyma Kutjdra<br />

(Two Women), wheelthrown<br />

stoneware, Ernabella terra sigillata<br />

black stain. sgraffito, 1140'(' h.6cm<br />

w.44cm<br />

3 Malpiya Davey, Ka/aya Tjukurpa<br />

(Emu Story), wheelthrown stoneware<br />

Ernabella terra sigillata. sgraffito<br />

1140'(, h.6cm, w.40cm<br />

Photos: Ruth McMillan<br />

burst <strong>of</strong> new growth in dormant plants after rain. An attuned<br />

awareness <strong>of</strong> the land is embodied in the confidence and strength<br />

<strong>of</strong> the mark making, Responding carefully and intuitively to the<br />

placement <strong>of</strong> surface design on these forms, Carroll. Williams<br />

and Davey draw material from traditional stories and images, such as tjukula (rock holes) or bush food<br />

and flora such as wayanu (quandong). Interpreting this tradition through their own view <strong>of</strong> the world<br />

as contemporary artists has led to each having a distinctive personal style. <strong>The</strong> domed or 'loaf' forms<br />

were made by fifteen relative newcomers to ceramics at Ernabella Arts during a workshop led by Janet<br />

De Boos and Anita Mcintyre. <strong>The</strong> interesting shapes, alluding to central <strong>Australian</strong> mountain ranges,<br />

allow versatility in the approach <strong>of</strong> the mark making by the newer artists and, although striking, they<br />

did underscore the level <strong>of</strong> skill in sgraffito <strong>of</strong> the more established artists.<br />

Robert Puruntatameri uses a different visual language to that employed<br />

by the desert artists. <strong>The</strong> environment <strong>of</strong> the Tiwi Islands is tropical and<br />

coastal, focused on the ever-changing sea. Robert creates patterns and<br />

uniform lines in one colour. <strong>The</strong> lines cross hatch in straight rows evoking<br />

fishing nets and a relationship to the sea. In some pieces this leads to the<br />

focal point in the design <strong>of</strong> fish such as barramundi. Puruntatameri makes<br />

his own vase and platter forms on the wheel, achieving a quiet and<br />

confident mastery over his material and decoration.<br />

In this exhibition could be seen representation <strong>of</strong> the remote and unique environments in which the<br />

artists live, through the imagery drawn from their cultural and historical link to the land and materially<br />

through the colour <strong>of</strong> the earth. <strong>The</strong> patterning, form and colours <strong>of</strong> the ceramics skillfully evoke an<br />

expression <strong>of</strong> something intrinsic to the <strong>Australian</strong> landscape.<br />

Two Communities - the Language <strong>of</strong> Clay (English)<br />

Itarra murrakipinni - ingingaminni purrarpulirri (Tiwi)<br />

Ngura kutjara - wangkamantanguru (Pitjantjatjara)<br />

<strong>The</strong> exhibition pieces were created during a workshop and residencies supported by a Skills<br />

and Arts Development Grant from the Aboriginal and Torres Strait Islander Board <strong>of</strong> the<br />

Australia Council for the Arts and a grant from Country Arts South Australia.<br />

Cathy Franzi is undertaking Higher Degree Research in <strong>Ceramics</strong> at the ANU and was able to<br />

see the artists at work during their residency. www.strathnairn.asn.au<br />


Process + Meaning<br />

One Journey<br />

Stephanie Out ridge Field discusses work and clay with Kim Schoenberger<br />

"Our life is a journey and we are both the result and an integral part - a combination <strong>of</strong><br />

inner strength and outer influence ... "<br />

Work made is the result <strong>of</strong> the process, the person and the <strong>of</strong>ten precarious journey that includes<br />

learning, familiarity, skill, vision, enthusiasm, commitment, determination, and sometimes an<br />

unwillingness to accept defeat. Pots can be the punctuation points along the journey - sometimes even<br />

a full stop along a side road .<br />

Kim Schoenberger, a ceramic and mixed media artist based on the Sunshine Coast hinterland, is on<br />

such a journey.<br />

An essential ingredient to the mix is where Kim lives and works. Her workshop and studio gallery is<br />

across the garden from her high-set Queensland house. <strong>The</strong> property overlooks a rich farming valley that<br />

has equipment lying around in various states <strong>of</strong> repair and use. Her assemblages could only be made in<br />

a rural landscape, as many <strong>of</strong> the elements are found objects from this environment - twisted, tortured,<br />

rusted barbed wire, discarded rusted wheels and cogs, remnants <strong>of</strong> human activity and endeavour.<br />

Kim's work evolves over time as elements cluster around her and are finally assembled with the<br />

'finishing' parts <strong>of</strong>ten being made out <strong>of</strong> porcelain or stoneware clays. Sometimes Kim uses bricks<br />

to create temporary press-moulded edges as in the works Ebb and Flow and Dominatrix. Th is<br />

combination <strong>of</strong> materials, found and made, is like 'gluing on the sparkle' to the idea which emerges and<br />

becomes concrete in the process <strong>of</strong> collecting, arranging and making.<br />

Inspiration is drawn from the contrasting textures, which prompt Kim to explore forms and layering<br />

and, by natural extension, the building techniques she employs, such as stacking, welding and<br />

interweaving. This process promotes the disparity between, for example, the s<strong>of</strong>tly squeezed clay and<br />

hard-edged moulded metal. This duality is a continuing fine balancing act in Kim's work - interior/<br />

exterior, old/new, found/made, gloss/matt, discarded/treasured, s<strong>of</strong>tlhard.<br />

In the assemblages, both large-scale totems and small-scale structures (sometimes with moving<br />

elements), Kim sees the energy <strong>of</strong> each individual component contributing to the collective energy <strong>of</strong> the<br />

piece. <strong>The</strong> works gather presence from the previous lives <strong>of</strong> the chosen found elements as well as the<br />

invigoration from the new incarnation.<br />

Kim says, "People respond to the gentle aging and the evidence <strong>of</strong> its previous importance ... there is<br />

a familiarity, a 'knowing'''. <strong>The</strong> work makes a journey within the viewer's mind's eye and the narrative is<br />

complete.<br />

Kim has been making totems for more than five years. <strong>The</strong> smaller sculptural works that sit on tables<br />

and the wall works are more recent. <strong>The</strong>se works have a yin and yang duality - the bone-like qualities<br />

<strong>of</strong> the porcelain adjacent to the aged rusted metals - which creates a vibrating energy. Perhaps th is is<br />

the underlying concept and driver for all her work, whether the focus is incidents in Iraq with Austra lian<br />

soldiers or the fragility <strong>of</strong> life.<br />

In the two small-scale works Trinity and Falling Soldiers Kim has explored issues relating to current<br />

combat as well as the historical context <strong>of</strong> the ANZAC tradition. In Falling Soldiers, using decoupage<br />

techniques, Kim lined the interior surface with relevant newspaper articles, secreting them away behind<br />

a window <strong>of</strong> etched glass.<br />

She is a powerhouse when it comes to getting on with the business <strong>of</strong> being an artist, broadening<br />

her skills in web design, blogging, a range <strong>of</strong> teaching experiences, residencies and, <strong>of</strong> course, the more<br />


Process + Meaning<br />

, I<br />

• I<br />

A.<br />

,<br />

'·e, • •<br />

}J<br />

Kim Schoenberger. White Clown, 201 1, pinched, thrown<br />

handbuilt assemblage, sterling silver, diamantes, polished<br />

Southern Ice. h.2OCm<br />

usual exhibitions. Kim has been in nearly forty<br />

group and five solo shows since 2000.<br />

"My current direction is working with iconic<br />

objects from my childhood - companions to<br />

my growing up. I am addressing my life and<br />

reflecting on how I am feeling now. I am<br />

choosing comforting and nurturing images<br />

and reinterpreting them using the purity <strong>of</strong><br />

porcelain."<br />

<strong>The</strong> four works Max, Maxine, Cutie 0 0 /1<br />

and White Clown are part <strong>of</strong> this series. <strong>The</strong>y<br />

are beautifully made, technically delicious, and<br />

they work. Maxine collapses in a heap when<br />

you push her base button linking the silver wires<br />

threading through her component parts. Release<br />

the button and she pops back up, pert as ever.<br />

<strong>The</strong> smooth porcelain lies well with the sterling<br />

silver bling and the minimal use <strong>of</strong> colour. <strong>The</strong><br />

works are very tactile and their scale relates<br />

perfectly to the hand, inviting play.<br />

Kim's work is about balance and, like the<br />

consta nt swing <strong>of</strong> a pendulum, she oscillates<br />

Kim Schoenberger, FaJ/ing Soldiers, <strong>2011</strong>, assemblage. metal, porcelain, oxide, 1300cc reduction , h.13cm. w.17cm. d.5cm<br />

Photos: Tony Webdale

Process + Mea ning<br />

Right: Kim Schoenberger in studio<br />

Below right: Kim Schoenberger, Dominatrix<br />

<strong>2011</strong> assemblage, metal. stoneware clay, dry<br />

glaze,cone 5, oxidization, h.95cm, w.53cm. d.23cm<br />

Opposite page: Kim Schoenberger, Ffourish<br />

<strong>2011</strong>, thrown, metal assemblage, polished<br />

Southern Ice, h.llern, w.7cm, d.7cm<br />

Photos: Tony Webdale<br />

between clay being the dominant material and<br />

the found elements that she gathers and frames.<br />

Her thrown porcelain vessels, Punctured<br />

I and Punctured II, their smooth whiteness<br />

pierced with large rusty horseshoe nails that<br />

overlap on the interior, defeat the role <strong>of</strong> the<br />

vessel. <strong>The</strong> exterior is punctuated by the rusty<br />

square nail ends, which form a red brown polka<br />

dot pattern. <strong>The</strong> interior, intersected by red<br />

brown lines cantilevering <strong>of</strong>f the interior wall,<br />

form an impenetrable matrix.<br />

Kim is a doer. With several projects on the<br />

go at once, her workshop is a clean, organised<br />

and productive working space. Her found<br />

objects are neatly organised and highly visible.<br />

Kim comments, "I don't want to be considered<br />

decorative, but rather more serious ... making<br />

challenging and visually engaging work that<br />

prompts a second thought or another look, at<br />

the very least."<br />

Kim Schoenberger's practice is challenging,<br />

interesting and gently provocative. Her<br />

competent and technically articulate approach<br />

to her materials adds great finesse to the<br />

concepts she chooses to explore. <strong>The</strong>re is a<br />

delightful freshness about her approach that is<br />

legible and accessible. I know she is going to<br />

continue prodUCing amazing and beautiful work<br />

that draws from her life's experiences and her<br />

reactions and responses to her world.<br />

www.kimschoenberger.com<br />

www.kimschoenbergerceramicartist.<br />

blogspot.com<br />

Stephanie Outridge Field is a ceramicist,<br />

freelance writer and curator based in<br />

Brisbane.<br />


Inside My Studio<br />

Ian Clare unpacking his kiln in his Eggs and Bacon Bay Studio. <strong>2011</strong><br />

In Conversation with Ian Clare<br />

Vicki Grima: When did you first use clay and what did you make<br />

Ian Clare: My parents were potters so there was always clay around. I still have small sculptural items<br />

that I made when I was a child.<br />

VG: Where is your current studio?<br />

IC: I have two studios in Tasmania, one in Eggs and Bacon Bay (yes there is such a place), and the other<br />

in Cygnet.<br />

VG: Do you work alone or with others?<br />

IC: I work alone but have collaborated with Buddhist scu lptor and good friend, Jonathan Partridge.<br />

VG: How long have you been working in your current studio?<br />

IC: Four years at Eggs and Bacon Bay and just a few months in the Cygnet studio.<br />

VG : What are the essential features a studio <strong>of</strong> yours has to have?<br />

IC: Natural light, running water, good heating in winter and a bar fridge.<br />

VG: Describe your work pattern - hours/days/weeks etc.<br />

IC: In the past I have had very intensive work patterns with long hours, but now my approach is more<br />

relaxed . At present I work 16 to 20 hours a week and rarely on weekends.<br />


Inside My Studio<br />

VG: Describe the work you make in your studio.<br />

Ie: I make both fundional and non-fundional work which may be wheelthrown, slipcast or handbuilt.<br />

I use all firing ranges.<br />

VG: What is the most satisfying part <strong>of</strong> your work?<br />

Ie: Choosing my own hours and being creative.<br />

VG: Why is clay your chosen medium?<br />

IC: I have a strong sense that initially clay chose me. Any medium that cracks, shrinks, warps, explodes<br />

and collapses is extremely hard to master; I love the challenge that clay <strong>of</strong>fers.<br />

VG: Type <strong>of</strong> clay'<br />

Ie: I use several commercial clay bodies as well as tidal native clay, dug at low tide and used without<br />

any processing.<br />

VG: Type <strong>of</strong> glaze?<br />

Ie: I make my own glazes, many in the Japanese tradition.<br />

Ian Clare, Twisted Citrus Ceramic Lemon and Lime Juicers, <strong>2011</strong> . slipcast. clear glaze, underglaze stains,<br />

each, h.8cm, w.5cm; photo: artist

Inside My Studio<br />

Ian Clare, Bowl, 2009, wheelthrown stoneware, chun<br />

underglaze brushwork. h.1Ocm. w.18cm: photo: anist<br />

Ian Clare, Bowl, 2010, wheelthrown, crazed glaze, carved<br />

rim, h.5cm, w.34cm; photo: artist<br />

VG : Type <strong>of</strong> kiln/firing?<br />

Ie: I use a gas-fired 18 cu ft Porta Kiln for reduction and oxidation, and an 8 cu It gas-fired kiln<br />

for raku .<br />

VG : List your 3 favourite things that you listen to while working.<br />

Ie: Triple J, Hamish & Andy and WonderMouse, an Aussie techno band.<br />

VG: Your favourite tool?<br />

Ie: I love my air compressor; after thirty years it owes me nothing.<br />

VG : How do you identify your work?<br />

Ie: I stamp my work, but at times it is hard to find as I <strong>of</strong>ten hide it under the glaze.<br />

My insignia is an 'I' with a 'C' cut through it. My workshop's stamp is like a crescent moon<br />

which represents Eggs & Bacon Bay.<br />

VG: How do you sell your work?<br />

Ie: I sell through commissions, exhibitions, galleries and shops.<br />

VG: Do you teach or sell from your studio?<br />

Ie: Both - the teaching studio is in (ygnet, and I am also planning to develop an exhibition<br />

space there.<br />

VG: What do you do with your seconds?<br />

Ie: I have sold seconds, but I am more likely to smash them or give them away.<br />

VG: What other jobs, paid or unpaid, fit around your ceramic practice?<br />

Ie: At present I have a project with a few mates restoring a 28-foot Queenscliff-style (outa boat<br />

bu ilt in 1929.<br />

VG : What is your favourite part <strong>of</strong> the ceramic process?<br />

IC:<br />

(racking the kiln door when it's cool enough (and even when it's not).<br />


Inside My Stud io<br />

VG: What is the dreaded job that never<br />

gets done?<br />

IC: Probably cleaning the workshop up<br />

after working towards a show.<br />

VG: What are you fussy about?<br />

Ie: I am fussy about finish and quality<br />

through the making process.<br />

VG: If you could change one thing about<br />

your studio, what would that be?<br />

IC: Size - you can never have too much<br />

space.<br />

VG: Which single piece <strong>of</strong> ceramics would<br />

you most like to own?<br />

Ie: <strong>The</strong>re's a beautiful Ming bowl in<br />

Museum Victoria that I love. Maybe owning<br />

it would deprive others, so just to hold it<br />

for a while would be enough.<br />

VG : What would you do if you won the<br />

lottery?<br />

IC: Develop a demonstration program to<br />

take around schools. Oh yes, and travel a<br />

bit (well a lot).<br />

VG: Exhibitions/workshops coming up?<br />

Ie: <strong>The</strong>re will be a Christmas show in<br />

early December in Cygnet. And if anyone<br />

is interested, I am taking bookings for<br />

workshops next year.<br />

E: ianj,clare@gmail.com<br />

www.twistedcitrus.com.au<br />

T: 03 6297 8188<br />

All work by Ian Clare<br />

1 Sphere, <strong>2011</strong> , porcelain, reductlon·fired<br />

h.l8cm, w. 21cm<br />

2 Tea Bowl. <strong>2011</strong> . wheelthrown. crazed<br />

celadon, h.8cm, w.13cm<br />

3 Stamp Collection, square, Ie Insignia; round<br />

Eggs and Bacon Bay Workshop Stamp <strong>2011</strong><br />

Photos: artist<br />



Edu cation<br />

Big Hands Little Hands<br />

Nicole Lister reports on her residency at Gladstone Public School<br />

<strong>The</strong> opening <strong>of</strong> the exhibition Big Hands Little Hands at the Macleay Valley Community Art Gallery<br />

(MV Gallery) on 25 August <strong>2011</strong> was an exciting event for the students <strong>of</strong> Gladstone Public School- all<br />

47 <strong>of</strong> them - their families, the teachers and the broader community. <strong>The</strong> exhibition was the culmination<br />

<strong>of</strong> an Artist in Schools program ' that enabled the school to have me as their Artist in Residence for a<br />

two-month period. Commencing in mid-May I worked with all the students in the school, Kindergarten<br />

through to Year 6, three days a week in the school's outdoor classroom called <strong>The</strong> Clayhouse.<br />

Nicole lister, Roll Call. <strong>2011</strong> , wheelthrown stoneware. satin matt glaze.<br />

digital decals (ot students' self portrait drawings). shelving, installation,<br />

h.60cm, w.llScm; photo: Anthony Teisseire<br />

Thanks to another local ceramicist,<br />

Robin Furner, <strong>The</strong> Clayhouse was<br />

established in the school's old timber<br />

weather shed in 2006. Furner ran<br />

a small, school-funded ceramics<br />

program based upon studying local<br />

endangered species in the Hat Head<br />

National Park . A Duncan top-loading<br />

kiln was donated to the school and<br />

sculptural works were created and<br />

exhibited at the MV Gallery, which,<br />

conveniently, is located almost right<br />

next door to the school. Having<br />

experienced the educational, social<br />

and pr<strong>of</strong>essional benefits <strong>of</strong> Furner's<br />

program, Principal Wayne Craig, was<br />

very open to pursuing funding for another ceramics program, especially as they had not been able to<br />

build upon the previous program due to lack <strong>of</strong> funds and lack <strong>of</strong> teacher skill and knowledge in the<br />

medium. In late 2010, we lea rnt that the funding application had been successful.<br />

Gladstone Public School is located on the Mid <strong>No</strong>rth Coast <strong>of</strong> NSW between Kempsey and South<br />

West Rocks. It is a small, two-teacher school situated on the Macleay River. Farming lands surrounds<br />

Gladstone. As the school had recently become a Waterwise School (a program designed to educate<br />

students about water sustainability issues) the principal suggested a visual arts program based around<br />

the theme <strong>of</strong> water and he was keen for the students to make water jugs for the table. With reference<br />

to the NSW K-6 Visual Arts Syllabus, I developed a program that, through a sequence <strong>of</strong> learning<br />

experiences in both 2D and 3D media, led to the making <strong>of</strong> ceramic cups (Kindergarten - Year 2) and<br />

jugs (Years 3-6).<br />

It is fair to say that the program I devised was ambitious and challenging. I felt that it was important<br />

to provide the children with experiences that would excite and inspire them and lead them to create<br />

works that were highly individual and well made. <strong>The</strong> learning experiences that the students were<br />

engaged in each week were designed to help them understand ways <strong>of</strong> representing water through the<br />

use <strong>of</strong> line, colour and texture. By exploring and experimenting with these art elements and with all the<br />

enthusiasm, imagination and curiosity that young children bring to new experiences, they created works<br />


Ed ucation<br />

- drawings, paintings, prints and ceramics - that reflected not only their developing knowledge and<br />

technical skills but also conveyed the excitement and energy with which they were made.<br />

<strong>The</strong> public presentation <strong>of</strong> work is an important aspect <strong>of</strong> any artist's practice and the exhibition at<br />

the MV Gallery was an important part <strong>of</strong> the learning experience for the students. <strong>The</strong>y were proud<br />

<strong>of</strong> their achievements and eager to show and discuss their work and the work <strong>of</strong> others with their<br />

families. Some revisited the gallery several times. When <strong>of</strong>ficially opening the Big Hands Little Hands<br />

exhibition, Ge<strong>of</strong>f Maddams, Head <strong>of</strong> Creative Industries <strong>No</strong>rth Coast TAFE, said" ... you cannot help<br />

but be knocked over by the energy, strong individual expression and enjoyment that each <strong>of</strong> the<br />

student artists have portrayed as integral elements in every piece exhibited . Whether it be a painted<br />

panel, a mono print, a self portrait or a beautifully designed and bu ilt ceramic form, the consistently<br />

high standard <strong>of</strong> technical execution, married to advanced conceptual ideas, is an absolute credit to all<br />

involved" .<br />

1 Lilly Sydenham (year 4) Water lug, 201" coi lbuil! earthenware, majolica glaze, I I 00"( h.27cm<br />

2 Logan Davis (Year 4) Wa ter Jug , <strong>2011</strong>, coilbuilt earthenware, majolica glaze, 1100"( h.20cm<br />

3 Jack Walsh-McKiernan (year 5) Water Jug, <strong>2011</strong>, (oilbuilt earthenware, majolica glaze, 11000C h.175cm<br />

4 Murray Seers (Year 3) Water lug, <strong>2011</strong>, coilbuilt earthenware, majolica glaze, 1100"(, h.22cm<br />

Background by Dominic Rh(on (Year 1); photos: Anthony Teisseire<br />

"In NSW, <strong>The</strong> Artist in Schools program<br />

is a joint initiative between the Australia<br />

Council for the Arts, Arts N5W and the NSW<br />

Department <strong>of</strong> Education and CommunitIes.<br />

It is: a Federal Government initiative<br />

therefore similar programs run in each State<br />

administered through State Government<br />

agencies.<br />

Funding is provided for schools to engage<br />

an artist to work with students and teachers<br />

to enrICh schools' arts programs and<br />

encourage future artists and arts audiences.<br />


Ed ucation<br />

Nicole Lister talks with students - Lilly Sydenham (Yr 4), Logan Davis (Yr 4)<br />

Murray Beers (Yr 3) and Jack Walsh McKiernan (Yr 5) about their jugs before they<br />

were bisqued and glaze fired.<br />

NL: lilly, can you describe your jug?<br />

LS: My jug is brown and it is about 30cm in height. It has lots <strong>of</strong> little splash·like pieces <strong>of</strong> clay on it. On<br />

the handle it has a little groove in it at the top. <strong>The</strong> spout is long, that makes it tall. At the bottom it has<br />

a small foot ring.<br />

NL: Logan, How did you make your jug? What techniques did you use?<br />

LO: First we sketched it, then we made the base <strong>of</strong> it. After that we rolled coils and built the sides up.<br />

When we had done that we shaped it. Once we shaped it, we gave it texture.<br />

NL: Murray, What do you most like about your jug?<br />

MB: <strong>The</strong> best part <strong>of</strong> my jug is the way that it curves in and out. I also like the handle.<br />

NL: Jack, What do you most like about your jug?<br />

JWM: <strong>The</strong> best feature <strong>of</strong> my jug is the design. It looks like X·Man drawed on it with his claws!<br />

Left: Murray Beers (Year 3) hand building his jug<br />

Photo: Nicole lister<br />

Above: Magen Ellery (Year 4) inCising patterns on<br />

her jug; photo: Nicole Lister<br />

~Ik<br />

NSW artsnsw<br />

- , Education &<br />

~ Communities<br />


Education<br />

M ia Parker (Kindergarten)<br />

preparing her cup for the base<br />

Photo: Nicole lister<br />

How to Make a<br />

Ceramic Cup<br />

"First we made a slab and<br />

we put patterns on it.<br />

<strong>The</strong>n next we folded it in<br />

a cup shape. We painted<br />

our cup with white slip.<br />

<strong>The</strong>n next we painted the<br />

underglaze colours. <strong>The</strong>n<br />

Mrs Lister fired the cups<br />

two times and glazed<br />

them."<br />

Keira Sydenham. Yr 1<br />

1 Big Hands Little Hands exhibition. Macleay Valley Community Art Gallery, 25 August - 4 September <strong>2011</strong><br />

2 lacey MacPherson (Kindergarten), Keira Sydenham (Year 1) Water Cups. <strong>2011</strong>, slabbuilt earthenware, white slip<br />

underglazes, clear glaze, 1100"C, h.ll.5cm, w.8.5cm; photo: Anthony Teisseire<br />

3 Jugs in progress. Lilly Sydenham and Ji Barker (year 4), photo: Nicole Lister<br />

4 Elise Pittard and Marcel lister (Year 1) painting white slip on their cups, photo: Nicole lister<br />


Community<br />

WAC ceramics studio. 1978<br />

Education Without<br />

Boundaries<br />

Elizabeth Rowe reports on <strong>50</strong> years at the Workshop Arts Centre<br />

Sunlight falls into the small enclosed courtyard. Homemade benches have been moved into the<br />

shade and heads come closer together for better communication. <strong>The</strong> sound <strong>of</strong> voices and laughter<br />

rises from the area as a straggler joins the group. Outside on the grass, a semi-circle <strong>of</strong> chairs has been<br />

formed under the shade <strong>of</strong> a large plane tree and a clutch <strong>of</strong> freshly thrown pots sitting neatly on bats is<br />

vulnerable as they also share the shade. And so it continues - the distinct and gentle rhythm <strong>of</strong> another<br />

day in the life <strong>of</strong> students <strong>of</strong> ceramics at the Workshop Art Centre IYVAC).<br />

Still at its original site on Sydney's lower <strong>No</strong>rth Shore in the residential suburb <strong>of</strong> Willoughby, this<br />

remarkable centre was founded <strong>50</strong> years ago as a place <strong>of</strong> artistic learning and endeavour, and now<br />

<strong>of</strong>fers courses ranging across all visual arts forms. Over the years, the original complex has been<br />

expanded and renovated and now comprises three large painting and drawing studios, a ceramics<br />

studio, printmaking facilities, jewellery studio, sculpture studio and a photography darkroom. Over the<br />

past half century, WAC has built up a proud tradition <strong>of</strong> creative and financial independence.<br />

"<strong>The</strong>re are very few wholly independent not-for-pr<strong>of</strong>it arts organisations around. It is the last <strong>of</strong> its<br />

kind, really," says Arts Administrator Ann Fisher.<br />


Commun ity<br />

WAC ceramics studio, 2010<br />

"We are not a school. People don't come here for a qualification. <strong>The</strong>y come here for the experience,<br />

the camaraderie and to share as well as benefit from the expertise <strong>of</strong> the highly qualified and<br />

experienced artists who teach here."<br />

<strong>The</strong> study <strong>of</strong> ceramics is a core discipline introduced in the early days, in 1960s. Pioneer teacher<br />

Renata de Lambert, a well-regarded ceramic artist, retired only two years ago after more than three<br />

decades teaching at WAC. During these years, a fully<br />

functional ceramics studio was set up with both gas and<br />

electric kilns.<br />

Renata was soon joined by wood-firing expert, Barbara<br />

Campbell-Allen, who has managed to teach and inspire<br />

students at the WAC while maintaining her own artistic<br />

career and practice. At times these two strands <strong>of</strong><br />

Barbara's life cross over, with students regularly invited<br />

to participate in selected pit and wood-firings held at the<br />

small acreage owned by Barbara and her husband, Paul, in<br />

the foothills <strong>of</strong> the Blue Mountains.<br />

Everything from raku, black, sawdust and pit firings<br />

to full-blown three-day wood-firing in one <strong>of</strong> Barbara's<br />

traditional anagama kilns are usually held during the<br />

Right: Petra Svoboda, Gokko-Neco, <strong>2011</strong>; photo: courtesy WAC

Comm unity<br />

WAC exterior, 1978 WAC exterior, 201 1<br />

winter term or break each year, with results being shown <strong>of</strong>f at annual students exhibitions at WAC's<br />

Ewart Gallery, or further afield at major galleries around Sydney.<br />

Recently, two new teachers <strong>of</strong> ceramics have brought their unique perspectives and skills to the WAC.<br />

Kwirak Choung uses his Korean background for inspiration in his work and teaching, a practice that<br />

has evolved using his knowledge <strong>of</strong> the traditional concepts <strong>of</strong> Taoism and Buddhism. Introduced a<br />

couple <strong>of</strong> years ago, Kwirak's classes in wheel-throwing have proved as popular as his own exquisite tea<br />

bowls and larger work.<br />

Adding her modern, 'pop' vision and skills to the teacher mix is Petra Svoboda who teaches the more<br />

traditional art <strong>of</strong> mould-making, as well as specialty 'Printing on Clay' workshops. Petra's own trademark<br />

pop surrealist ceramic characters now regularly adorn the studio shelves in various stages <strong>of</strong> completion,<br />

adding a new dimension for the inspiration <strong>of</strong> students.<br />

<strong>The</strong> latest and smallest addition to studio equipment is perhaps the most indicative <strong>of</strong> how the WAC<br />

studio works. A small circular gas kiln was donated to the ceramics studio late in 2010. It was quickly<br />

put into use by a group <strong>of</strong> students, inspired by the travels to <strong>No</strong>rth Africa <strong>of</strong> fellow student Warwick<br />

'Wazza' Barnard, who took up the challenge <strong>of</strong> developing recipes for Egyptian paste, making small<br />

objects, and gas-firing them.<br />

Known affectionately as 'Mr Fixi!', Warwick, a retired manager, uses his skills to regularly service the<br />

studio's collection <strong>of</strong> ageing throwing wheels and keep the cranky slab roller moving. He makes the<br />

important point that "whatever I put into the place by way <strong>of</strong> volunteering and helping, I more than get<br />

back from the joy <strong>of</strong> sharing ideas with a group <strong>of</strong> like-minded people",<br />

Two years ago now, a group <strong>of</strong> Campbell-Allen's students devised and undertook their own study<br />

tour <strong>of</strong> some important ancient kiln sites and pottery hotspots in Japan. Admittedly, this group was ably<br />


Above: Barbara campbell-Allen, Arrow <strong>of</strong> Time; photo: Alex Kershaw<br />

Below left: Kwirak Choung; photo: courtesy WAC<br />

aided in their undertaking by fellow student Kyoshi Ando, who used his<br />

knowledge <strong>of</strong> the travel industry to put together the trip <strong>of</strong> a lifetime, w ith<br />

stops in traditional 'ryokan ' inns and various hot spring resorts along the<br />

way.<br />

One Japan trip participant sums up the experience: "<strong>The</strong> months leading<br />

up to our trip were such a busy time. We each chose a topic that was an<br />

aspect <strong>of</strong> our trip, for example Bizen pots. We researched it and then gave<br />

lunchtime presentations, with notes, to the group so that when we got to<br />

Japan we got the most out <strong>of</strong> being in a place.<br />

It would be true to say that while ceramics courses at WAC follow<br />

the traditional system <strong>of</strong> an academic year <strong>of</strong> four semesters, education<br />

parameters are anything but, as students are encouraged to explore further and to push their own<br />

boundaries out into the greater community.<br />

Whether in the ceramics studio, out woodfiring in the bush, or travelling anywhere from Gulgong to<br />

Egypt or Japan, students <strong>of</strong> ceramics at WAC are truly able to experience a ceramics education without<br />

borders.<br />

For more information on ceramics courses at WAC, go to www.workshoparts.org.au<br />

or phone 02 9958 6540<br />

Former ABC radio producer, Elizabeth Rowe, has been a student <strong>of</strong> ceramics at WAC<br />

for the past decade.<br />


Even t<br />

<strong>Australian</strong> <strong>Ceramics</strong> Triennale 2012<br />

Subversive Clay<br />

Adelaide, South Australia<br />

28 September-1 October 2012<br />

Sophia Phillips discusses the theme <strong>of</strong> the upcoming Triennale<br />

Subversive Clay will explore clay as a medium capable <strong>of</strong> challenging artistic, social and cultural<br />

issues through investigating past traditions and invigorating future experimentation.<br />

<strong>The</strong> field <strong>of</strong> ceramics has a long history <strong>of</strong> bucking trends and laying its own path in the world<br />

<strong>of</strong> the visual arts. <strong>The</strong> physical versatility <strong>of</strong> clay means it is not a medium easily confined to set<br />

definitions or aesthetics. It is that slipperiness, both literal and figurative, that makes clay an<br />

excellent vehicle for the subversion <strong>of</strong> accepted norms, as well as an extraordinarily useful material.<br />

<strong>The</strong> term 'subversive clay' initially leads one to think <strong>of</strong> the socio-cultural narratives and<br />

commentaries explored by many ceramic artists; however there are other quiet ways in which<br />

clay and ceramic artists subvert assumptions within and outside the field ... sometimes ideas are<br />

forgotten, or mistaken for one thing when, in fact, they are another - or both. <strong>The</strong> contradictions,<br />

confusions and passionate disagreements over '<strong>The</strong> Vessel'. 'Skill' and the 'Is it Art or Craft'<br />

question (to name a few) are part and parcel <strong>of</strong> the 'clay-game', along with unkempt nails and<br />

questionable footwear. <strong>The</strong>se points <strong>of</strong> friction are integral to development, exploration and the<br />

expansion <strong>of</strong> knowledge - and ultimately such discussions are about shaking up assumptions.<br />

Sophia Phillips is a tutor at the School <strong>of</strong> Art, Architecture and Design<br />

University <strong>of</strong> South Australia.<br />

28 Sep - 1 Oct 2012<br />


Nicole Cherubini<br />

Installation view, 2007<br />

Institute <strong>of</strong> Contemporary Art<br />

University <strong>of</strong> Pennsylvania<br />

Speakers and Artists<br />

Nicole Cherubini<br />

Cherubini is an American artist who makes non-functional vessels that<br />

appear extravagant and excessive, breaking new ground in the exploration<br />

and potent ial possibilities <strong>of</strong> clay whilst also challenging our perception <strong>of</strong><br />

the final 'object'. Cherubini's work directly engages with historic clay vessels,<br />

making clear references to Greek classical pots but blurring the images by<br />

retaining memories <strong>of</strong> traditional vessel coil-building processes through<br />

surface thumb print markings. Glazing is colourful, at times carefully applied<br />

and at other times, dripping and messy. <strong>The</strong> addition <strong>of</strong> other elements<br />

such as wood, prints, costume jewellery, even garishly dyed furs, and the<br />

placing <strong>of</strong> her work on plinths, all contribute to her renegade approach to<br />

contemporary clay.

Event<br />

Clare Twomey<br />

Twomey is a British ceramic artist who<br />

specialises in large-scale installations, sculpture<br />

and site-specific work. She has exhibited widely,<br />

including at the Tate (UK), Victoria and Albert<br />

Museum (UK), Crafts Council (UK), and the<br />

Museum <strong>of</strong> Modern Art (Kyoto, Japan).<br />

Clare's work is influenced by observations<br />

<strong>of</strong> human interaction and political behaviour<br />

and pursues her interest in space, architectural<br />

interventions and the gallery as destination. Her<br />

installation, Consciousness/Conscience at the<br />

Ceramic Biennale in Korea in 200 1, consisted <strong>of</strong><br />

8000 hollow bone china tiles laid on the floor.<br />

Guests were invited to walk into the gallery<br />

space, crushing the tiles underfoot as they moved<br />

about.<br />

Twomey's installations re-invent and re-examine<br />

the way in which artists work in clay and,<br />

importantly, the way their work is presented in<br />

public environments. She subtly alters a gallery<br />

space, challenging our perceptions and the way<br />

we behave in those settings.<br />

Clare Twomey. Trophy, Vidoria & Albert Museum<br />

Cast Courts, September 2006<br />

Masamichi Yoshikawa<br />

An internationally celebrated ceramic artist,<br />

Yoshikawa is based in Tokoname, Japan. His<br />

inspiring ceramic forms are represented in<br />

major public and private collections throughout<br />

the world. Yoshikawa draws inspiration for his<br />

work from ancient Chinese ceramic forms and<br />

glazes. Working in porcelain he creates strikingly<br />

modern re-interpretations <strong>of</strong> these structures and<br />

covers them in dripping seihakuji (blue-white)<br />

glaze.<br />

Masamichi Yoshikawa<br />

28 Sep -1 Oct 2012<br />


Anton Reijnders, Duty, 20 11 drawers<br />

doorma t. fired clay, terra sig illata<br />

shopping bag, wood and plates<br />

h,171 cm<br />

Anton Reijnders<br />

Reijnders is acclaimed internationally for his ceramics<br />

exhibitions and commission work and is represented in many<br />

collections throughout Europe, Asia, Australia and the US , He<br />

uses simple forms such as spheres and cones to create poetic still<br />

life arrangements, frequently combining clay w ith other materials<br />

such as wood, cloth and newspaper. <strong>The</strong>se arrangements are<br />

constructed to contest and undermine perceptions <strong>of</strong> the fragility<br />

<strong>of</strong> fired clay.<br />

From 1987 to 2003, Reijnders headed the European Ceramic<br />

Work Centre in 's-Hertogenbosch, Netherlands. He also assisted in<br />

developing new clay materials and technical processes which have<br />

been incorporated into important contemporary arch itectural<br />

projects.<br />

Reijnders currently teaches at the Gerrit Rietveld Academy,<br />

Amsterdam and is the author <strong>of</strong> <strong>The</strong> Ceramic Process, an<br />

encyclopaedic work commissioned by the European Ceramic<br />

Work Centre (EKWC) and an important text in the field <strong>of</strong><br />

ceramics.<br />

Akio Takamori<br />

Takamori was born in Japan but has lived in the United States since 1974. His work is represented in<br />

many public collections, including the Carnegie Museum <strong>of</strong> Art, Los Angeles County Museum <strong>of</strong> Art,<br />

American Craft Museum, Victoria & Albert Museum (UK), George Gardiner Museum <strong>of</strong> Ceramic Art<br />

(Canada), Shigaraki Ceramic Cultural Park (Japan) and Ariana Museum (Switzerland).<br />

Takamori's work has always been figurative, based on the human body and expressive <strong>of</strong> human<br />

relationships, emotion and sensuality. Initially making vessel forms adorned with painted figurative<br />

details, he later shifted to an interest in sculpture. Standing and sleeping figures portray historical<br />

characters, contemporary society, and rural villagers, their day-to-day existence recalled from his<br />

ch ildhood in Japan . He has recreated<br />

his hometown from memory using clay<br />

and translated traditional Japanese prints<br />

into three dimensional porcelain figures.<br />

Takamori's ceramic sculptures evoke an<br />

eerie sense <strong>of</strong> reality and presence. Since<br />

1993 he has been a faculty member <strong>of</strong> the<br />

University <strong>of</strong> Washington School <strong>of</strong> Art.<br />

Akio Takamori, Alice/Venus

Wedge<br />

Gary Healey<br />

"Plinth" Phillip - please don't take me to the tip!<br />

My name is Plinth Phillip. I stand proud at 120cm tall and 40cm square. My<br />

complexion is a pasty white; arctic white <strong>of</strong>ficially. I don't get out much given<br />

I have no legs. Some bloke at an exhibition said to me, after his third glass <strong>of</strong><br />

free wine, " Mate you belong at the tip. Cerami cs is now all multi-media and<br />

installation . You're just a white box; so yesterday."<br />

I pondered this - which for an inanimate object is pretty cool. True, I am a white<br />

box and will always be a white box. I can see no way <strong>of</strong> reinventing myself as<br />

some new fangled way <strong>of</strong> displaying things; not least because I have no arms to<br />

pick up the saw and hammer and never completed my Certificate III in Carpentry.<br />

But hey, what is wrong with a white box - surely not everything needs to be<br />

multi-media or installation ? I am really quiet, so I won't get in the way <strong>of</strong> whatever<br />

you put on me. In fact, some people say I am so quiet that if you put something<br />

on me which is crap, it will be really obvious. Is this what they are worried about -<br />

nowhere to hide?<br />

I met one <strong>of</strong> these multi-media machines last week at speed dating. She wasn't<br />

very articulate and kept on saying the same thing over and over - something<br />

about a continuous loop! As best I could make out, she was going to the recycling<br />

depot once her exhibition was over. I assured her that being fashionable is not a<br />

crime and shared my own dilemma about whether I would be better <strong>of</strong>f down<br />

the tip. We agreed to meet again but both had a realistic appreciation <strong>of</strong> the<br />

difficu lties <strong>of</strong> achieving this.<br />

She asked how she would know it was me. I gasped. I am so plain and there are<br />

so many others like me. I said, "If the piece on top <strong>of</strong> me takes your breath away,<br />

it's probably me."<br />

Gary Healey<br />

In Honour <strong>of</strong><br />

the Chinese<br />

Glaze Masters<br />

Catherine<br />

Asquith Gallery<br />

Collingwood<br />

Odober <strong>2011</strong>

Potters Marks<br />

Potters Marks<br />

:lOll<br />

Amanda Shelsher Ashley Fiona Dee Taylor-Graham<br />

Lynda Draper Marianne Huhn Helen Earl<br />

Mary-Iou Hogarth Mollie Bosworth Liz Low<br />

Trisha Dean Pru Morrison Robyn Phelan<br />


Archive<br />


W ith the expansion <strong>of</strong><br />

.<br />

the Potters<br />

'<br />

.<br />

S<br />

ocle<br />

' tyfNew<br />

.0<br />

So th Wales members felt that a pub li cat ~ on dealing with<br />

th~ re uirements <strong>of</strong> local potters was des.rabl.e, and with<br />

h . . q . we have now launched our fIrst ed,t,on.<br />

t IS In View<br />

"P tt in Australia" has been produced primarily to<br />

aery. . g potters and to endeavour<br />

disseminate informatIon damon d' <strong>of</strong> ' our problems bath<br />

to promote a better ,un erstan 109 , ,<br />

technical and aesthetIC,<br />

" Th' f'rst ed'lti~n with on article on stoneware bodie~ ,<br />

, IS I , 'bl b' t f a potter s<br />

bnd another an the ':'°h re hintangl he ~f ~~s ~ries to fulfill<br />

philosophy, t~ether WIt P otagrap s ,<br />

this purpose,<br />

. Acknowledging the stimulus <strong>of</strong> Bernard Le.ach'~ , per­<br />

Seriality by publishing this edition follOWIng h,s VIS~ to<br />

ould et stress the fact that the potters t ~m-<br />

~~~i;,;:et~e ma(;,stoy <strong>of</strong> this and any ~ut'!t! prod~tl~~<br />

IN d d on the support <strong>of</strong> our su scn rs a<br />

st i~ul~~~f our cont ributors. With this encouragement ~he<br />

journal may expand in scope and perform a genuine servIce<br />

to potters.<br />

EDITOR,<br />

. ,<br />

.. ~~'<br />

Page i<br />

You are invited to comment on the past and look into the future<br />

As part <strong>of</strong> the <strong>50</strong>th anniversary issue <strong>of</strong> <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>, I would like to publish your<br />

comments on whether we have been true to the mission statement expressed in the first editorial by<br />

Wanda Garn sey (see above). Also welcome are your thoughts on the direction you would like to see in<br />

future editions. Using up to 2<strong>50</strong> words, send in your comments and a selection will be printed in the<br />

milestone 5111 issue.<br />

Vicki Grima, editar<br />


Well Read<br />

<strong>The</strong> Art <strong>of</strong><br />

WOOD F IRE<br />

<strong>The</strong> Art <strong>of</strong> Woodfire<br />

A Contemporary <strong>Ceramics</strong> Practice<br />

by Owen Rye<br />

Published by Mansfield Press, <strong>2011</strong><br />

160 pages, hardback, $ 11 0<br />

ISBN 9780980879803<br />

<strong>No</strong>w available online<br />

www.australianceramics.com<br />

or call 1300 720 124<br />

I think it only fair to first declare my interest in the subject matter and also to knowing the author. As<br />

co·editor and publisher <strong>of</strong> the only international journal dedicated to wood·fired ceramics (and I also<br />

like to think <strong>of</strong> myself as a good friend <strong>of</strong> Owen's), I could have a biased point <strong>of</strong> view, particularly given<br />

the favourable mention that our publication receives in this book. Setting this aside, I have aimed to be<br />

objective as any reviewer should.<br />

Dipping in here and there to begin with, my first feeling was that the title <strong>of</strong> the book was somewhat<br />

misleading, and to be added to others guilty <strong>of</strong> the same . Perhaps a more accurate title would have<br />

been <strong>The</strong> Art <strong>of</strong> Woodfire: an <strong>Australian</strong> Perspective. However, having read the whole book I am<br />

now more inclined to agree with the title chosen, <strong>The</strong> Art <strong>of</strong> Woodfire - A Contemporary <strong>Ceramics</strong><br />

Practice . Although an <strong>Australian</strong> perspective is fundamental to the information in the appendices and<br />

the statements <strong>of</strong> the represented artists, the essence and sense <strong>of</strong> creative descriptions capturing both<br />

the woodfire process and it's aesthetic in the main text, are as valid to contemporary wood firing on an<br />

international level as they are in Australia, and relevant to all woodfirers wherever they may live.<br />

Some years ago Owen wrote an article about wadding for our journal. At the outset he expressed<br />

concern that writing about wadding might be similar to a Michael Palin television sketch in which a<br />

character endlessly compares shovels and the slender distinctions between them. But Owen persisted<br />

'on the basis that the ultimate quality <strong>of</strong> work coming from a woodfired kiln is derived from subtleties<br />

explored and perfected in every aspect <strong>of</strong> the process', which is exactly what he has strived to document<br />

in this book.<br />

Given his earlier research and work in archaeology, the human experience is essential. Th is approach<br />

was perhaps one <strong>of</strong> the driving forces that eventually encouraged Owen to organise the first <strong>Australian</strong><br />

woodfire conference in 1986 (Woodfire '86), during which he published the findings <strong>of</strong> his survey to<br />

discover how many woodfirers and woodfire kilns there were in Australia at that time. <strong>The</strong> survey and<br />

conference had a pr<strong>of</strong>ound effect on woodfirers throughout the country, and was perhaps the starting<br />

point for what would eventually become the '<strong>Australian</strong> wood fire movement'.<br />

<strong>The</strong> essays that introduce each <strong>of</strong> the three chapters, Aesthetic Considerations, Woodfire Practice<br />

in Australia and Technical Discussion, essentially contextualise the short statements and descriptions<br />


Well Read<br />

written by each <strong>of</strong> the 24 woodfirers<br />

whose work has been seleded to<br />

illustrate the book. Given that the images<br />

<strong>of</strong> work were specially taken for the<br />

publication, I would have liked to see<br />

more <strong>of</strong> a focus on surface detail, as one<br />

might have the opportunity to examine a<br />

piece <strong>of</strong> work up close in a gallery or at<br />

an exhibition.<br />

So, who is this book for? If you are<br />

already a wood firer, it is interesting to<br />

read about other woodfirers and their<br />

pradice; if you are a student <strong>of</strong> ceramics,<br />

it provides a valuable insight into a<br />

creative process that thrives on chance<br />

and an aesthetic <strong>of</strong> imperfedion; if you<br />

are a colledor <strong>of</strong> ceramics, it <strong>of</strong>fers a<br />

window through which to view and<br />

gain an understanding <strong>of</strong> con temporary<br />

<strong>Australian</strong> woodfired ceramics. It is<br />

a welcome addition to the published<br />

writing on the art <strong>of</strong> woodfired ceramics.<br />

Review by Robert Sanderson<br />

Editor, <strong>The</strong> Logbook, Ireland<br />

www.thelogbook.net.<br />

Above: Owen Rye. Bottle. 2010<br />

Below: Rowley Drysdale, Marker, 2010<br />


Australia Wi de<br />

act<br />

August certainly was Clay Month in Canberra.<br />

<strong>The</strong> Material Matters exhibition at the ANU,<br />

with accompanying workshops and symposium,<br />

proved to be a concentrated distillation <strong>of</strong> the<br />

past twenty years <strong>of</strong> developments in the ceramic<br />

process and a demonstration <strong>of</strong> lateral thinking<br />

in the use <strong>of</strong> ceramic materials. As such it was<br />

stimulating and seductive and it would be a<br />

closed mind that was not inspired to leap into<br />

the studio and try something new.<br />

<strong>The</strong> Canberra Potters' Society Annual Exhibition,<br />

Clay Cohesion opened on 22 October with Peter<br />

Beard from the UK as selector and judge. <strong>The</strong><br />

winner <strong>of</strong> the <strong>2011</strong> Doug Alexander Award was<br />

Maryke Henderson. Other award winners were<br />

Moraig McKenna, Erin Kocaj, Zoe Slee, Ingrid<br />

Adler, Suzanne Oakman, Chris Harman, Debra<br />

Boyd-Goggin, Sylvia Marris, Chris Harford and<br />

Verney Burness.<br />

<strong>The</strong> Foundry at Strathnairn Arts Association<br />

(SAA) is now open and the woolshed studios<br />

have been completed. <strong>The</strong>re were two wellsupported<br />

woodfirings <strong>of</strong> the Olsen tunnel kiln<br />

in August and October. <strong>The</strong> Homestead Gallery is<br />

undergoing extensive renovations but exhibitions<br />

continue as programmed. <strong>The</strong> SAA members'<br />

exhibition this year will run until 20 <strong>No</strong>vember.<br />

Following the successful introduction <strong>of</strong> a<br />

Summer School program in January <strong>2011</strong>,<br />

Canberra Potters' Society will <strong>of</strong>fer two summer<br />

workshops in January 2012 with tutors Kevin<br />

Boyd and Bev Hogg. Full details available on our<br />

website, wwvv.canberrapotters.com.au.<br />

Best wishes to all for the festive season.<br />

Jane Crick, E: janecrick@dodo.com.au<br />

nsw<br />

On show at Newcastle Art School Front Room<br />

Gallery in August were impressive embossed<br />

mugs and plates by the Yili Indigenous Design<br />

Group from Great Lakes TAFE Art and Design<br />

School. Using computer-aided drafting and<br />

laser-cutting equipment, the designs were made<br />

into finely detailed woodcuts which were then<br />

pressed into clay before being formed into<br />

vessels. Other mugs were screen printed with<br />

oxides. Steve Williams, Head <strong>of</strong> the School, is<br />

enthusiastic about the future <strong>of</strong> Indigenous<br />

design and is progressing towards a <strong>No</strong>rth Coast<br />

TAFE National Indigenous Design School. We look<br />

forward to seeing more work from this group.<br />

In the Hunter region, many potters are returning<br />

to the craft after long breaks away. Rosemarie<br />

Momsen is one such ceramicist who recently<br />

had a very successful exhibition at Back to Back<br />

Galleries, not so much as an emerging artist but<br />

a re-emerging artist. Large thrown platters, bowls<br />

and full body forms were glazed in a silky black<br />

glaze with glaze-on-glaze decoration confidently<br />

painted on the surface with broad brush strokes,<br />

further enhanced with lush dabs <strong>of</strong> colour.<br />

Environmentally and socially acceptable graffiti<br />

was the order <strong>of</strong> the day at the TAFE Faculty <strong>of</strong><br />

Creative Industries workshop week. Inspired by<br />

American artist Charles Schneider who visited<br />

last year, students painted large clay 'canvases'<br />

that had been painted onto the brick walls with<br />

porcelain slip, Following excursions to various<br />

destinations, including a donkey sanctuary and<br />

urban sites, images relating to the trips were<br />

created. <strong>The</strong> paintings will slowly erode with<br />

some lovely subtleties over time. An Indigenous<br />

student, Damien, painted the trunks <strong>of</strong> several<br />

trees, repeating the word 'wampa', which is a<br />

culturally appropriate word to use in a hostile<br />

situation. (Wampa describes delicately extricating<br />

yourself from answering a direct question so as<br />

not to disrupt or cause <strong>of</strong>fence.)<br />

Back to Back Galleries will be celebrating 20<br />

years in 2012. <strong>The</strong> bowl show, Bow led Over<br />

Again, will be on in September. More info to<br />

follow soon.<br />

Sue Stewart, E: sue@ceramicartist.com.au<br />

qld cairns<br />

Our national ceramic exhibition Melting Po t<br />

<strong>2011</strong> was held at Cairns Regional Gallery from<br />

29 July to 18 September, and was a great<br />

success. We sold more than a third <strong>of</strong> the 54<br />

works with many pieces going overseas. Our<br />

only disappointment was that we did not receive<br />

many entries from ceramicists outside the<br />

Cairns region. We hope to continue our biennial<br />

national ceramic exhibitions, so for information<br />

on the award winners, the judge's comments and<br />

photos <strong>of</strong> the exhibits, go to<br />

wwvv.cairnspottersclub. net.<br />


Australia Wide<br />

During Festival Cairns on Sunday 28 August, the<br />

club opened its doors to the people <strong>of</strong> Cairns<br />

for a Raku Open Day. Many parents brought<br />

their children along for some fun. If they had<br />

not already made a pot for the firing, they<br />

could buy a bisque pot, decorate it with glazes<br />

provided and have it fired in our raku kiln. When<br />

we finished at 9 pm, after numerous firings,<br />

we watched many happy people walking away<br />

with a warm pot in their hands. It was a good<br />

opportunity for us to promote the club and the<br />

classes we run.<br />

Lone White, E: lone@tpg.com.au<br />

Raku Open Day at Cairns Potters Club<br />

qld south east<br />

20 I I has seen a hedic schedule for the Gold<br />

Coast Potters Assoc Inc (GCPA), starting with our<br />

second Empty Bowl Lunch in June with more<br />

than 400 bowls, tons <strong>of</strong> preserves, fabulous pots<br />

in our silent audion, and mouth-watering food<br />

filling the bowls. We raised almost $8000 for<br />

Anglicare Crisis Centre. Many people made it a<br />

success: Ge<strong>of</strong>f Crispin, Gerry Wedd, Katherine<br />

Mahoney, Suvira McDonald, Michael Pugh, Su<br />

Brown, Di Buckland, Ge<strong>of</strong>f Walker, Megan Puis,<br />

Eda Blank, Vera Mantle and all who donated.<br />

Suki Mead, as usua l, proved to be a tireless<br />

convenor.<br />

<strong>The</strong> Helen Charles workshop in July was a terrific<br />

success with 15 participants making huge pots,<br />

which only just fitted into our kiln. <strong>The</strong> Venturi<br />

gas burner was popular, if a little awesome!<br />

<strong>The</strong> GCPA Annual Members Exhibition was held<br />

in August with a record number <strong>of</strong> entries and<br />

esteemed ceramicist Dianne Peach as judge.<br />

Major award winners were Anne Mossman,<br />

Wendy Hodgson and Katherine Mitchell. On the<br />

last day the GCPA and the Sculptors Society held<br />

a combined market day to showcase their work<br />

and talents for the public.<br />

<strong>The</strong> Swell Sculpture exhibition at Currumbin,<br />

and Spring Fever are events we are looking<br />

forvvard to on the Coast.<br />

For images, judges critique and lots more, go to<br />

www.goldcoastpotters.com .<br />

Happy potting, Lyn Rogers<br />

T: 07 55943307; F: 07 55943365<br />

E: romeo-whisky@bigpond.com<br />

qld townsville<br />

NQPA members and friends have had a busy<br />

year, starting with the clean-up after Cyclone<br />

Yasi. We have had a number <strong>of</strong> social nights<br />

where all brought a plate <strong>of</strong> food and shared a<br />

meal, good conversation and companionship at<br />

our studio as a way <strong>of</strong> introducing new members<br />

and students and encouraging them to feel at<br />

home.<br />

Two <strong>of</strong> our members, Sharon Jewell and Annica<br />

Stenval-Batts, have recently been to Jingdezhen,<br />

China, as part <strong>of</strong> the graduate program <strong>of</strong>fered<br />

by the <strong>Australian</strong> National University. We had<br />

a great night with Sharon showing photos,<br />

talking about the experience and showing all the<br />

beautiful little pots she had bought back.<br />

An Instrudion and Participation ledure series has<br />

been running throughout 201 1. <strong>The</strong>se popular<br />

3-hour blocks have been <strong>of</strong>fered by different<br />

members, giving instruction on their specia lity<br />

area. Regular classes continue at the studio and<br />

we are now looking at <strong>of</strong>fering an advanced or<br />

master class series for 2012.<br />

In Odober, Petra Svoboda, from Sydney,<br />

joined us for a Printing on Clay workshop. All<br />

participating were very busy getting prepared<br />

and excited about having such an exciting artist<br />

com ing north.<br />

NQ Potters' Association Inc celebrate their 40th<br />

anniversary in 2012, coinciding with hosting the<br />

Townsville Ceramic Awards from 9-25 <strong>No</strong>vember.<br />

A call for entries will go out in April 2012 .<br />

Sharon Jewell, E: sharon-jewell@hotmail.com<br />


Australia Wide<br />

sa<br />

Congratulations to Gus Clutterbuck for recently<br />

winning a Special Prize at the Gyeonggi<br />

International Ceramix Biennale <strong>2011</strong> in Korea.<br />

<strong>The</strong> last quarter has seen a busy period with<br />

many ceramic artists and potters exhibiting as<br />

part <strong>of</strong> South Australia Living Artists (SALA) Week<br />

<strong>2011</strong> . JamFadory Atrium hosted a new group<br />

<strong>of</strong> figurative works by Charmain Hearder, and<br />

Seeds, an exhibition <strong>of</strong> new works that were<br />

the culmination <strong>of</strong> an ArtSA-funded Mentorship<br />

Program with two Indigenous artists Christina<br />

Gollan and Daisybell Nungala Virgin and Chilean<br />

artist Silvia Stansfield. This program was run in<br />

the <strong>Ceramics</strong> Studio at JamFadory.<br />

SALA also saw exhibitions by Tamara Hahn<br />

at One Small Room, Gerry Wedd at Curious<br />

Orange, Lesa Farrant, Phil Hart and Maria<br />

Parmenter in Suite at St Morris Upholsterers.<br />

Maria, Lesa, Chris De Rosa and Helen Fuller will<br />

exhibit in Home Front at Murray Bridge Regional<br />

Gallery from 21 Odober. Helen Fuller had a<br />

resounding success at Adelaide Central Gallery<br />

with her SALA exhibition Winding Threads.<br />

Stephen Bowers will exhibit an impressive body<br />

<strong>of</strong> new work, Larks Tongues in Aspic, in<br />

Odober at Robin Gibson Gallery in Sydney.<br />

<strong>The</strong> past month has seen exhibitions from<br />

interstate visitors with Jenny Orchard showing at<br />

Art Images Gallery and Merran Essan at BMGArt.<br />

Owen Rye conducted an excellent two-day<br />

workshop at Studio Potters Klemzig in July, which<br />

was very well received, as was his exhibition at<br />

the Studio Potters Gallery.<br />

Sally Gibson-Dore won the Helpmann Academy<br />

JamFadory Award, entitling her to a six month<br />

residency in JamFactory <strong>Ceramics</strong> Studio. Also<br />

at JamFactory, Ceramic Studio Associate Maria<br />

Chatzinikolaki was the recipient <strong>of</strong> the President's<br />

Award at CraftSouth's members exhibition<br />

Wish list. Maria, along with fellow associate<br />

Wayne Meara, was also selected as one <strong>of</strong> the<br />

finalists for the JamFadory Design Award.<br />

Preparations continue for the 2012 <strong>Australian</strong><br />

<strong>Ceramics</strong> Trienniale to be held in Adelaide from<br />

28 September - 1 October. For more information,<br />

go to http://australianceramicstriennale.com, or<br />

phone 088410 1822.<br />

Kirsten Coelho; E: kandd@chariot.net.au<br />

tas<br />

Tasmanian born ceramicist Simone Fraser recently<br />

returned to her home town to give a workshop<br />

for the Tasmanian Ceramic Association (TCA).<br />

Simone has been exhibiting for more than<br />

30 years and is included in many prominent<br />

colledions, including the NGA, the Art Gallery <strong>of</strong><br />

SA and Artbank. She currently teaches at tertiary<br />

level and since 1981 her work has been included<br />

in more than fifty exhibitions.<br />

Simone began with a presentation on her studio<br />

set-up and her work. Of particular interest was<br />

the work <strong>of</strong> Simone's mother, Barbara Cauvin,<br />

one <strong>of</strong> the TCA's original members and the<br />

designer <strong>of</strong> the logo which we still use today. As<br />

a child Simone spent many hours playing with<br />

clay while her mother worked on her sculptural<br />

pieces and developed her crystalline glazes.<br />

Simone showed us her amazing technique <strong>of</strong><br />

throwing up-side down, then drying the clay<br />

to a leather hard consistency before adding<br />

another band <strong>of</strong> clay and throwing-on. In this<br />

way it's possible to make very large pots without<br />

having to centre a huge amount <strong>of</strong> clay. She also<br />

demonstrated techniques for making textured<br />

surfaces, and shared her glaze techniques and<br />

recipes along with the application <strong>of</strong> gold leaf<br />

and other metals onto fired surfaces. Simone left<br />

us inspired to try her techniques, perhaps in time<br />

for our upcoming annual exhibition Lasting<br />

impressions. Simone's workshop certainly<br />

created a lasting impression I<br />

Members <strong>of</strong> the TCA. Polytechnic students and<br />

others are busy making bowls for an Empty<br />

Bowl Projed lunch to be held at Battery Point<br />

on 29 <strong>No</strong>vember. Our community will be able to<br />

purchase soup in a beautiful hand-made bowl,<br />

and keep the bowl. Money raised will help to<br />

feed those in need. This is one <strong>of</strong> many empty<br />

bowl projeds potters participate in all over the<br />

world.<br />

<strong>The</strong> Offcentre ceramics cooperative has changed<br />

premises, still within the Salamanca Arts Centre,<br />

but now in a more accessible ground floor<br />

location.<br />

John Watson; E: john@dmink.net<br />


Austra lia Wide<br />

vic<br />

Victorian potters are becoming more involved<br />

in local Open Studio events. Kicking <strong>of</strong>f w ith<br />

a group exhibition at Sticks Winery, the Yarra<br />

Valley Open Studios ran over two weekends and<br />

amongst the local artists were eight potters.<br />

Having Sticks Winery as one <strong>of</strong> its major<br />

sponsors, the Open Studios event was marketed<br />

along with w inery tours, helping to make it a<br />

very successful event. <strong>The</strong> Dandenong Ranges<br />

Pottery Open Studios in October will showcase<br />

ten potters.<br />

<strong>Ceramics</strong> Victoria has held their first <strong>of</strong> a number<br />

<strong>of</strong> bus tours to regional areas, visiting ceramicists<br />

in the Castlemaine area and the Castlemaine Art<br />

Gallery, with a special 'behind the scenes' tour.<br />

<strong>The</strong> Pat Emery Award <strong>2011</strong> for an emerging<br />

ceramicist will be held at the Studio@Flinders<br />

from 21 October - 13 <strong>No</strong>vember. <strong>The</strong> award was<br />

established in 1989 in honour <strong>of</strong> Pat Emery, a<br />

founding member <strong>of</strong> <strong>Ceramics</strong> Victoria, who said<br />

her wish was " for this award to go to a young,<br />

creative and ambitious potter to kick-start their<br />

career " .<br />

Diploma <strong>of</strong> <strong>Ceramics</strong> and Visual Arts students<br />

from Holmesglen TAFE participated in <strong>The</strong><br />

Teapot Tips Exhibition at the Gallery@Bayside<br />

Arts and Cu ltural Centre along with works from<br />

the Bayside City Council's teapot collection.<br />

Showcasing functional, decorative and scu lptural<br />

teapots, the works included <strong>The</strong> Yellow<br />

Submarine and Julia in Hot Water.<br />

<strong>The</strong> Valley Potters had an enjoyable weekend<br />

away in the Castlemaine area . Highlights<br />

included Barry Singleton's most informative<br />

workshop and visits to the studios <strong>of</strong> Maria<br />

Coyle and Phil Elson. <strong>The</strong> Valley Potters Annual<br />

Exhibition, Clay Directions, will be at the<br />

Kingston Arts Centre until 29 <strong>No</strong>vember.<br />

<strong>The</strong> Pottery Expo @ Federation Square <strong>2011</strong> will<br />

be held on Sunday 4 December from l Oam to<br />

5 pm; visit www.potteryexpo.com.<br />

Glenn England<br />

E: glennengland@optusnet.com.au<br />

wa<br />

If you're planning a weekend drive in the hills,<br />

be sure to visit the historic cottage gallery <strong>of</strong><br />

Cathryn and Bruce Cann at 20 Brook Road,<br />

Darlington; www.darlingtongallery.net.<br />

<strong>The</strong> Clayfeet Exhibiting Group celebrated 10<br />

years <strong>of</strong> ceram ic creativity with an exhibition,<br />

Feats <strong>of</strong> Clay, at the Old Bakery Gallery,<br />

Maylands.<br />

Two magicians <strong>of</strong> their craft, Ian Dowling and<br />

Robyn Lees, conjured up beautifully progressive<br />

works to w in the two major prizes at CAAWA's<br />

Annual Selective Exhibition at Heathcote. Highly<br />

commended went to Njalikwa Chongwe, Atsuko<br />

Sandover and Cher Shackleton.<br />

At the CAAWA AGM, Cher Shackleton agreed<br />

to continue as President. Bela Kotai was guest<br />

speaker on the night, talking about his residency<br />

at Anderson Ranch in Colorado, USA.<br />

Garry Zeck spoke on ABC radio about his<br />

exhibition <strong>of</strong> pots and paintings at Gallows<br />

Gallery that created a narrative <strong>of</strong> the lives <strong>of</strong> the<br />

early pioneer residents in Israelite Bay, a remote<br />

southern coastal part <strong>of</strong> WA. Garry also has<br />

work in the exhibition Out <strong>of</strong> the West at the<br />

National Gallery <strong>of</strong> Australia, Canberra. Works by<br />

Sandra Black, Pippin Drysdale, Eileen Keyes and<br />

Joan Campbell are also part <strong>of</strong> this exhibition.<br />

Ela ine Bradley is one <strong>of</strong> nine emerging artists<br />

graduating from the ANU School <strong>of</strong> Art who are<br />

showing in a series <strong>of</strong> award exhibitions. Elaine<br />

was selected for the Craft ACT: Craft and Design<br />

Centre <strong>2011</strong> EASS Award as a graduate <strong>of</strong> ANU<br />

School <strong>of</strong> Art Ceramic Workshop.<br />

Janet De Boos, a top-rate presenter, gave a<br />

weekend demo workshop at CIT, thoroughly<br />

enjoyed by all. Betty Churcher presented a<br />

Lifetime Achievement Award to Pippin Drysdale<br />

at the Art Gallery <strong>of</strong> WA.<br />

Fremantle Bazaar is on 2 - 4 December <strong>2011</strong> and<br />

<strong>The</strong> Old Bakery Gallery, Maylands is once again<br />

holding its esteemed teapot exhibition,<br />

Tea Party, in January 2012 .<br />

Pauline Mann; T: 08 9459 8140<br />

pandpm@Westnet.com.au<br />


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main st hahndorf<br />

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shepparton art gallery<br />

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geraldton regional art gallery<br />

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On the Shelf<br />

....<br />

POnr:R<br />

LooKS<br />

" Goo<br />

More books are available on www.australianceramics.com<br />

--<br />

~"'l¥Oltl'"<br />

1. <strong>The</strong> Art <strong>of</strong> Woodfire<br />

- A Contemporary<br />

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by Owen Rye<br />

This book illustrates the<br />

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AU 5110<br />

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AU S39.95<br />

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<strong>The</strong> Complete Guide<br />

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D Direct Deposit' (<strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association 1 BSB 032298 1 Account <strong>No</strong>. 7605<strong>50</strong>)<br />


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: 1300 720 124 F: +61 (2) 9369 3742 E: mail@australianceramics.com www.australianceramics.com<br />


Classifieds<br />



By using stale <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: WWVII.decalspecialists.com.au<br />

T: 1300 132 771 ; E: enquiries@decalspecialists.com.au<br />


Sydney inner city pottery supplies: Keane's Clay - discount<br />

on 5 bagsll 0+ 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. 1 Dam - 5.30 pm; Thurs until 7 pm.<br />


Gold Coast China Painting Supplies is one <strong>of</strong> Australia's<br />

largest suppliers 01 china painting products. We supply<br />

on-glaze paints, painting mediums, lustres, gold, brushes,<br />

tools and specialty decals. Please contact Sandra to discuss<br />

requiremen ts, technical information or to request a full<br />

product listing; T: 07 5597 0859; E: sandra@goldcoastchina,<br />

com.au; WVIIW.goldcoastchina .com.au<br />


Quality supplies and friendly service; A wide range <strong>of</strong> clays<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 St, Ringwood VIC 3134<br />

T: 03 9870 7533; F: 0396470793<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 Gallery, 75 Curtis St, Oberon NSW 2787<br />

T: 02 6336 0411 ; F: 02 63360898; M: 0418 9B2 837<br />

E: info@ponersneeds.com.au; lh'WW.pottersneeds.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, eHicient electric and<br />

gas kilns and furnaces; made in Australia, environmentally<br />

friendly. 12 George St, Blackburn VIC 3130<br />

T: +61 (0)39877 4188; F: +61 (0)398941974<br />

E: info@tetlow.com.au; WNIN.tetlow.com.au<br />


Manufadurers and exporters <strong>of</strong> high quality pottery<br />

equipment. Venco manufacture a range <strong>of</strong> pugmills 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 526S; F: +61 (0)8 9497 1335;<br />

\ItNMI.venco.com.au<br />


ZESTE FRENCH TOURS 2012 Small personalised tours 10<br />

France: 21 May-4 June: Painting in Provence; 7-21 June;<br />

Pottery, Lavender and Rural Hideaways; 1·15 July: Music<br />

and Pot1ery; 7-21 September: Beaujolais, Burgundy and<br />

Alsace - wine, pottery. Contact Jane by email,<br />

jane@zestefrenchtours.com; T: 03 9644 2337;<br />

M: 0422 942 216; www.zestefrenchtours.com<br />

GROUPS<br />


CSG holds monthly meetings in Epping NSW and occasional<br />

worKshops with guest demonstrators from Australia and<br />

overseas. We maintain an up-ta-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 students, to learn and network.<br />

E: csgsecretary@hotmail.com<br />

www.ceramicstudygroup.org.au<br />



ceramic mass production and artworks. Ceramic design<br />

service also available. Contact Somchai T: 02 9703 2557<br />

M: 0401 359126; E: ealandclay@gmail.com<br />



We have a recently constructed studio and residential unit<br />

set aside for our NEW Artist in Residence Program. For more<br />

details go to www.canberrapotters.com.au or contact us tor<br />

an information pack. Canberra Potters' Society Inc., Watson<br />

Arts Centre, Aspinall St, Watson ACT 2602<br />

E: admin@canberrapot1ers.com.au; TIf: 02 6241 1670<br />

POBox 7021 Watson Act 2602<br />


<strong>No</strong>rth Oueensland Potters' AsSOCiation will be celebrating it's<br />

40th anniversary with the next Townsville Ceramic Awards<br />

which will be held 9-25 <strong>No</strong>vember 2012 at the Perc Tucker<br />

Regional Gallery, Townsville. Call for entries will be advertised<br />

in April 2012; T: 07 4772 345B; http://nqpotters.com<br />



Providing ceramic artists with digital and traditional<br />

photegraphic 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 (ter 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 />



Affordable, designed for strudural inlegrity, IighlWeight;<br />

also for hire. Roger Fenton. St Ives NSW<br />

T: 02 94888628; F: 02 9440 1212; M: 0417 443 414<br />


HOT TO POT WORKSHOPS at Moonshill, Tarago, (nr,<br />

Goulburn)<br />

17 January 2012 (Tues) - Holiday Fun Firing Day - various<br />

rapid firings, varying cost; 7 February 2012 (Tues)<br />

- Welcome back to Tutorial Tuesdays for 2012 with a free<br />


Classifieds<br />

half day workshop to make a Character Bell; 4 March 2012<br />

(Sun) . Colours in a Landscape· 1 day workshop. ways <strong>of</strong><br />

worKing with coloured day, $95. Bookings are essential for<br />

workshops. Contact Jane, T: 02 6161 OB06;<br />

E: Janecnck@dodo.com.au; www.janecrick.netflrms.(om<br />


Classes for beginners to advanced with Gary Healey<br />

clay/projects chosen to suit skill levels; Balwyn, Victoria<br />

TIF: 03 9816 3012; E: ashglazes@gmail.com<br />


<strong>Ceramics</strong> classes, day & evening. Monday to Friday.<br />

weekend & holiday workshops; Teaching artists; Barbara<br />

Campbell·AUen, KWlrak. Choung & Petra Svoboda. Beginners<br />

and advanced students welcome. Workshop Arts Centre. 33<br />

laurel Street, Willoughby NSW 2068; T: 02 9958 6540<br />

E: admin@Workshoparts.org.au; www.workshoparts.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 gaUery space go to VV\'\IW.clayworkers.com.au.<br />

Cnr St Johns Rd and 51 Johns Rd Glebe NSW 2037<br />

TIF: 0296929717; www.clayworkers.com.au<br />


<strong>2011</strong> Indigenous Ceramic Art Award, 18 February to 22<br />

April 2012; 2012 Sidney Myer Fund <strong>Australian</strong> Ceramic<br />

Award Applications open online 1 <strong>No</strong>v <strong>2011</strong> . <strong>The</strong> Museum<br />

is closed for redevelopment until 18 February 2012 . Please<br />

visit the website for details on the SAM Launch Party and<br />

updates on the redevelopment. Shepparton Art Museum. 70<br />

Welsford Street, Shepparton VIC 3630; T: (03) 5832 9861 ;<br />

E: art.museum@Shepparton.vic.gov.au; www.sheppartonartmuseum.com.au<br />

SMALLpieces<br />

SMALLpieces is a Melbourne retail and gallery space seilIng<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 />

WININ.northcoteponery.com.au<br />



<strong>The</strong> Diploma <strong>of</strong> <strong>Ceramics</strong> IS a skills-based course 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, provides students with<br />

a solid foundation from which they can build careers as<br />

independent arts practitioners. Contact Judith Roberts.<br />

T: 03 92125398; E: judith.roberts@chisholm.edu.au<br />


Holmesglen Chadstone 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. Our 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 9564 1942; www.holmesglen.edu.au<br />


<strong>The</strong> Newcastle Art School campus <strong>of</strong>fers Diploma and<br />

Certificate N. full-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. Sue Stewart, Helen Dunkerley<br />

and Jo Davies, all pr<strong>of</strong>essional exhibiting ceramists.<br />

<strong>The</strong> <strong>Ceramics</strong> Department has well equipped studios and a<br />

gallery on site. <strong>The</strong> campus is located in the cultural preCInct<br />

and is within walking distance to seven galleries;<br />

WNW.newcastleartschool.com.au<br />

Contad Sue Stewart: heather.f.stewart@tafe.nswedu.auor<br />

Paul Davis: paul.davis42@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. Pubhc Programs­<br />

Summer School 20 12: 9-13 January 2012 - A Week on the<br />

Wheel with Cameron Williams and Imagination in Clay with<br />

Jenny Orchard. Semester 1 Short Courses: Saturdays, 1 Dam<br />

- 4pm, 6 sessions commencing 25 February 2012: Wheel<br />

with Kwi Rak Choung. <strong>The</strong> <strong>Ceramics</strong> Department maintains<br />

an artist in residence program, international exchanges<br />

and visiting artists. Contact Merran Esson, T:02 9339 8718;<br />

E: merran.esson@nas.edu.au; \IIIVvW.nas.edu.au; Forbes St.<br />

Darlinghurst<br />


Introducing a new course in 2012: ObJed Based Pradice -<br />

Contemporary 3D concepts in <strong>Ceramics</strong>, Gold & Silversmithing,<br />

and hybrid object making; 8A Fine Art (full time); Post<br />

Graduate Studies by Research and Coursework (full-lime<br />

and part-time); contact Sally Cleary, Studio (o-ordinator,<br />

T: 03 9925 3858; E: sally.cleary@rmlt.edu.au;<br />

lNWW.rmit.edu.au/art<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 oHer 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 />

www.nsLtafensw.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, Gyme. NSW<br />

T: 02 9710 <strong>50</strong>0 1; F: 02 97 10<strong>50</strong>26<br />

www.sit.nsw.edu.aulceramicslgymea<br />


Classifieds<br />

Have something interesting to say?<br />

Don't know how to say it well?<br />

Improve your communication skills<br />

Lift your pr<strong>of</strong>essional pr<strong>of</strong>ile<br />

Express yourself powerfully with<br />

words<br />

Writing Workshop<br />

Learn Online at Horne<br />

Suitable for all levels <strong>of</strong> experience in<br />

writing<br />

Workshop fee payable February 2012<br />

Workshop begins April 2012<br />

Three essays in three months; the best<br />

may be published in <strong>The</strong> <strong>Journal</strong> <strong>of</strong><br />

<strong>Australian</strong> <strong>Ceramics</strong>.<br />

For obligation-free information email<br />

Owen at ryeowen@gmail.com<br />

<strong>The</strong> Aust ralian <strong>Ceramics</strong><br />

Association<br />

Secure and Easy<br />

online<br />

shopping<br />

is now available<br />

@ www.australianceramics.com<br />


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

<strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association<br />

Public and Product Liability Insurance<br />

Back issues, books and technical guides<br />

Payment Options<br />

Credit Card • Pay mate • Direct Deposit<br />

Contributions on all aspects ~<br />

<strong>of</strong> <strong>Australian</strong> ceramics are All material published is the<br />

wek:ome.<br />

copyright <strong>of</strong> <strong>The</strong> <strong>Australian</strong><br />

<strong>Ceramics</strong> Association.<br />

Requests for permission to<br />

We -~<br />

prefer articles to be<br />

reprint must be made to the<br />

supplied digitally on a diSC or editor.<br />

by email<br />

<strong>No</strong> responsibility for the<br />

content <strong>of</strong> the articles, or<br />

~ claims <strong>of</strong> the advertisers, can<br />

Photographic material may be accepted by <strong>The</strong> <strong>Journal</strong> <strong>of</strong><br />

be supplied In the form <strong>of</strong><br />

---.<br />

Austrahan <strong>Ceramics</strong>.<br />

transparencies, prints or<br />

digitally, as high resolution Photog ........,. attributed<br />

t3OOdpi) images. Please<br />

supply digital images on a<br />

disc. Further photographic AdvortIsIng Rot ..<br />

requirements are available <strong>The</strong>se are available by request<br />

on request, or go to www. or online at<br />

australianceramics.com and WW'IN.australianceramics.com<br />

go to the 'Form Downloads' Go to 'Form Downloads' link<br />

link<br />

on 'NWW.australianceramiCs.<br />

All images must be<br />

com<br />

accompanied by the<br />

name <strong>of</strong> the artist. S_<br />

title <strong>of</strong> the piece, date.<br />

We welcome enquiries from<br />

malertals and techniques. new stockists. Please contact<br />

dimensions (metric) and (he the <strong>of</strong>fice for detaIls.<br />

photographer's name.<br />

Sublaiptio". 51 11<br />

1<br />

10<<br />

__<br />

__<br />

107ln thIo_<br />

,<br />

1 April 2012<br />

<strong>50</strong>th Anniversary<br />

Issue<br />

Within Australia (inc.GST) Deadline for copy:<br />

3 issues AUS48 6 Fe bruary 2012<br />

6 issues AU $92<br />

New Zealand<br />

3 issues AU $60<br />

6 issues AU $116<br />

51/ 2<br />

17 July 2012<br />

Indigenous <strong>Ceramics</strong><br />

Overseas airmail<br />

3 issues AU $68 + Education Survey<br />

6 issues AU $132 Deadline for copy:<br />

7 May 2012<br />

A subscription form is<br />

included on page 107 In<br />

this magazine. If forward1ng<br />

a subscription without a 51/3<br />

form. include your name and 20 <strong>No</strong>vember 2012<br />

address in block letters and <strong>The</strong> Technical Issue<br />

,nclude the number <strong>of</strong> the Deadline for copy:<br />

issue with which you want to 10 Sept ember 2012<br />

start your subsCription.<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 />

Cm <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

<strong>The</strong> Art <strong>of</strong> Victor Greenaway<br />

Italy 2007 - <strong>2011</strong><br />

14 March - 14 April 2012<br />

Mannlngham Gallery, 699 Doncaster Road, Doncaster<br />

After five years <strong>of</strong> living and working in Italy, Victor Greenaway<br />

returns with a selection <strong>of</strong> paintings and ceramics that reflect the<br />

people and environment <strong>of</strong> Italy.<br />

Victor Greenaway, Untitled, 2010,<br />

porcelain, 120 mm wide x 95 mm high

sa~ e 0<br />

tosa •

Artist -in-residence<br />

program<br />


GROUP Inc.<br />

We have a recently constructed studio<br />

and residential unit set aside for our<br />

NEW artist-in-residence program.<br />

Details at canberrapotters.com.au or<br />

contact us for an information pack.<br />

Canberra Potters' Society Inc<br />

Watson Arts Centre · Aspinall Street · Watson· ACT<br />

admin@canberrapotters.com.au --~<br />

ph/fax (02) 624 1 1670 ~ ~<br />

po Box 7021 , Watson AU 2602 '5'<br />

Ceramic Study Group Inc<br />

Annual Summer Workshop<br />

Tutor: Johanna DeMaine<br />

<strong>No</strong>n-participatory<br />

Sunday 19 February 2012<br />

Powerhouse Museum, Sydney<br />

Bookings are essential.<br />

T: 02 9894 0249, 02 9484 2067<br />

www.ceramicstudygroup.org.au<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 />

Wrth a new course structure in 2012,<br />

you can tum your creativity into a career.<br />

> For further information about 2012<br />

programs, phone 03 99253858 or<br />

email saliy.cleary@rmit.edu.au<br />

www.rmit.edu.au/art<br />


To work creatively with clay is to<br />

play with the elements; earth, fire,<br />

air and water in combination with<br />

intellectual and practical skills.<br />


Develop your ceramics practice at<br />

Australia's longest continuing art<br />

school with a degree or short course<br />

that will engage and inspire you.<br />

<strong>The</strong> <strong>Ceramics</strong> Department is one <strong>of</strong><br />

the best equipped in Australia and<br />

maintains a vibrant enhancement<br />

program including artists-inresidence,<br />

international exchanges<br />

and visiting artists to provide an<br />

enriched environment for developing<br />

individual work through specialisation.<br />


(CERAMICS) 3 years full-time<br />


1 year full-time<br />


part-time or full-time<br />


Summer School : 9-13 January<br />


Merran Esson,<br />

Subject leader - <strong>Ceramics</strong><br />

(02) 93398718<br />

merran.esson@nas.edu.au<br />

www.nas.edu.au<br />

~AR' "c<br />

tJ)~~~~<br />

'%~#~<br />


NSW 2010 AUSTRALIA<br />

T (61 2) 9339 8744 www.nos.edu .ou<br />

CRICOS Provider Code 031978

NEW <strong>No</strong>.3<br />

full-sized ergonomic action Pedal<br />

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cliP-On work tables and seat also available<br />


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 />

New MiniFire Plus<br />

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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: 1021 9"90 2717 F: (02) 97084875 E: sales@kilns.com.au W:

Hot to Pot<br />


Kiln repairs, maintenance and<br />

restoration by Ian <strong>The</strong>yers,<br />

a licensed industrial electrician<br />

Sound technica l 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 Needs Gallery<br />

Delivery to your door<br />

Potters Needs is operated by<br />

Victoria and Ian <strong>The</strong>yers<br />

Potters<br />

Needs<br />

Full details available at<br />

www.janecrlck.netflrms.com<br />

Or phone (02) 6161 0806<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<br />

wheels, slab rollers,<br />

ACCESSORIES Brushes, corks,<br />

kiln shelves, etc MATERIALS<br />

and more GLAZES Powder and<br />

Claytools, Kemper, Giffin Grip and<br />

NEW - limited supply <strong>of</strong> Duncan<br />


Specia list ceramics<br />

tra ining facil ities<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 faci lities<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> f aci lities 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 III, IV; Diploma and Advanced Diploma<br />

> NSl's open studio practice provides access to the NSf 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

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 />


18 September - I October 1012<br />

<strong>Australian</strong> <strong>Ceramics</strong> Triennale<br />

Adelaide, South Au:stnllla·

Curated by<br />

GerryWedd<br />

THE 2 December <strong>2011</strong> - 22 January 2012<br />


stories in ceramics<br />

Artists: Julie Bartholomew Mallie Bosworth Deborah Burdett Barbara Campbell-Allen Kris<br />

Cood Steve Davies Terry Davies Trisha Dean Lynda Draper Helen Earl Fiona Fell Ashley Fiona<br />

Honor Freeman Shannon Garson Amanda Hale Christopher Headley Mary-Iou Hogarth Jan<br />

Howlin Marianne Huhn Liz Low Janet Mansfield Pru Morrison Mirto Ouro Robyn Phelan<br />

Amanda Shelsher Dee Toy/or-Graham<br />


Feeneys<br />

Clays<br />

WALKER<br />

~<br />

Clays Glazes Colours<br />

Cesca<br />

Glazes & Colours<br />

Greg Daly, Dappled light, platter<br />

earthenware, sliver lustre glaze<br />

copper decoratIon, dlam.60cm<br />

Service and Supplies<br />

03 8761 6322 1800 692 529<br />


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