The Journal of Australian Ceramics Vol 51 No 1 April 2012

The Journal of
AUSTRALIAN
CERAMICS
511 April 2012 $16

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Contents
Volume 51/1
April 2012
S16
Cover
Patsy Hely
Island. 2011, porcetain
with powder coated aluminium
Sducers, each h.Scm. w.13cm
Photo: Brenton McGeachie
The Journal of Australian Ceramics
Dates of Publication
1 April. 17 Ju~. 20 November
PubUsher
The Australian Ceramics Assodation
PO 80x 274 Waverley NSW 2024
T: 1300 720 124
F: 02 9369 3742
mailOaustrahanceramics.com
www.australianceramics.com
ABN 14 001 535 502
ISSN 1449-27SX
Editor
Vicki Grima
Marketing and Promotions
Carol Fraczek
Design
Astrid Wehling
W'Io'ffl.astridv.lehling.com.au
Subscriptions Manager
Ashley McHutchison
Proofreader. content
Suzanne Dean
Australia Wide Reports
Please see reports
for contact details
ACT: Jane Crick
NSW; Sue Stewart
OLD Far North: Lone Whne
OLD South East: lyn Rogers
QLD Townsville: Sharon Jewell
SA: Kirsten Coelho
TAS: John Watson
V1C: Glenn England
WAc Elaine Bradley
Printed by
Newstyie Printing Co Pry ltd
41 Manchester St. Mile End SA
503 1 certIfied to ASINZS ISO
14001 :2004 Environmental
Management Systems. Printed on
Impress Satin (FSC) stock USIng
100% vegetable-based
process in~.
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I "( ~ :;,_ C~'·H ')
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2 EDITORIAL
3 AUSTRALIA WIDE REPORTERS
4 NOW + THEN
5 ALL THINGS DIGITAL
6 THE TRUDIE ALFRED BEQUEST 2012
8 AWARDS + GALLERY
TRIBUTE
12 Wanda Garnsey by Karen Weiss
14 Kunmunara (carol) Williams by Geoff Crispin and Janet DeBoos
16 David Boyd by Damon Moon
PERSPECTIVE
17 The JAC SOth Anniversary Celebration by Grace Cochrane
21 PROmotion by Dee Taylor-Graham
24 Filthy lucre by Damon Moon
PROFILE
30 Peter Rushforth by Jan Howlin
41 Margaret Tuckson by Karen Weiss
46 Patsy Hely by Anne Brennan
52 Tania Rollond
58 Steve Williams by Gail Nichols
64 Susie McMeekin by Christopher Sanders
68 Elaine Bradley
72 Andrew Bryant by Stephanie Outridge Field
76 Bruce Nuske by Stephen Bowers
82 Michael Stephan by Jo Mcintyre Bornemissza
88 Janet Beckhouse by Inga Walton
94 John Dermer
COLLECTION
98 The Bluestone Collection by Robyn Phelan
100 Val and Michael Gregg by Elisa Bartels
COMPETITION
103 Shoot the Potter
LOOKING BACK
108 Top potters respond to questions from the editor
111 Surviving the Challenges: David Walker sums up the Australian
ceramics industry over the last few decades
MOVING FORWARD
113 Craft to Consumer: Ingrid Tufts. designer and maker. discusses
expanding her reach in retail
117 Yili: Steve Williams reports on Aboriginal Ceramic Design at Great
Lakes TAFE Art and Design School in Tuncurry NSW
121 Digital and Analogue: Hayden Youlley jumps at the chance
to work with Rod Bamford and his 3D Printer
REGULARS
125 EVENT: Contemporary Ceramics from the Desert by Jo Herbig
and Franca Barraclough
129 POTTERS MARKS
130 EVENT: Subversive Clay exhibitions: a preview
132 EVENT: Subversive Clay: Damon Moon takes a look at subversion
134 WEll READ: "The Art of Not Making" by Dee Taylor-Graham
135 AUSTRALIA WIDE
THE JOURNAL Of AUSTRALIAN CERAMICS APRil 2012 1

Editor: Vi cki Grima
A few members of the JAC team:
from left, Astrid Wehling, Vicki
Grima, Ashley McHutchison and
Elisa Bartels at Manly Art Gallery
& Museum, 22 January 2012
50 years . 146 issues . 7 editors . close to 15,000 pages
and way over a metre on a bookshelf if you have a full set.
Pottery in Australia started off at 5 shillings (SOc) and after 18 changes over 50 years, the price has
settled at $16.
The first 40 issues were black + white. The last 31 were full colour.
The name changed to The Journal of Australian Ceramics, gradually, between 2001 and 2003.
The first issue (1962) was 26 pages, stapled within a cover featuring Bernard Leach.
The largest issue (in 2009) was 160 pages, published for the Australian Ceramics Triennale.
Peter Rushforth is the most featured cover artist with five covers to his credit.
We celebrated our 40th anniversary with the Covers exhibition, and one of the displays from that
exhibition is on the wall of our office. The magazine printing reps say, "You know, those covers ..., they
illustrate a history of printing", and designers say, " ... a history of graphic design" .
With every issue published, that history is growing - a history of ceramic studio practice in Australia.
The Journal tells stories about the makers, shares images of the objects they create and documents
the methods they use. The talent featured also includes writers, photographers, designers, collectors,
collaborators, teachers, exhibition curators, gallery owners, bloggers, stirrers and editors.
One of the perks of being editor of a niche publication is being involved in almost every aspect of the
Journal, from making the hard choices about what's in and what's out, to loading Australia Post's truck
as the copies start their journey to our readers.
In preparing this issue, I collected statements from potters who have been involved with ceramics
and the Journal over the last few decades. One, by Victorian ceramic artist Stephen Benwell, caught my
attention: "One way to gauge the importance of the Journal is to imagine if we had gone through the
last 50 years without it! Impossible to imagine," he said.
Plans for the near future include a digital online version and a new
website. And maybe by the end of this year, a digital archive of the first
50 years of this wonderful publication. It's an exciting time!
~.
2 THE IOURNAl OF AUSTRALIAN CERAMICS APRil 2012

Australia Wide Reporters
Jane Crick (ACT)
Handbuilding has been my
passion for more than thirty
years - slabs such precision,
coils such pleasure, pinching
such fun. An avid collector of
handmade cups and saucers,
I currently have about sixty
amazing examples. Teaching
is always a joy whether with
Canberra Potters, visiting other
groups, or at Moonshill.
www.canberrapotters.com.au
www.janecrick.netfirms.com
Lynette Rogers (QLD)
I am living the good life on the
Gold Coast. I am a member
of, and a teacher for, the Gold
Coast Potters' Assoc Inc, as
well as a member of Clay Art
Benowa Gallery. My work
can be viewed here: www.
goldcoastpotters.com. At 60,
I am very happy teaching kids
and adults in my wonderful
studio, with new packages of
corporate bonding sessions and
birthday parties. I love clay!
John Watson (TAS)
I have been making ceramics for
twelve years and sell most of
my work at Offcentre, an artists'
cooperative in Hobart.
E: john@dmink.net
Glenn England (VIC)
Having taught ceramics for
the past 24 yea rs I have
recently retired, moved to
the Dandenong Ranges and
re-established my studio.
My ceramics are an ongoing
narrative: the story of my
past experiences, interests
and inspirations. I am looking
forward to exploring my new
environment and expressing it
in my art.
E: glennengland@optusnet.
com.au; Dandenong Ranges
Open Studios,
www.potteryopenst udios.com
Sue Stewart (NSW)
Currently I am a part-time
teacher of ceramics at TAFE
and run private classes at
Newcastle Studio Potters, and I
look after the website, www.
newcastlepotters.com.au. I
enjoy making both handbuilt,
abstract and figurative
sculptures and wheelthrown
vessels. The eroded cliffs
around the studio are providing
inspiration for current
sculptures.
www.ceramicartist .com.au
~ Lone White (QLD far north)
: I have been playing with clay for
: more than 35 years and still love
· to explore new ideas with clay,
: glazes and firing techniques;
www,lonewhite-ceramics.
, com; E: lone@tpg.com.au.
· I have been promoting the
: pottery industry in Far North
: OLD for many years though
! Cairns Potters Club, www.
: cairnspottersclub.net, and
• the Visual Arts Association of
: Far North OLD,
: www.visualartsassocfnq.com
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 3

Now + Then
The Australian Ceramics Association wishes
Pauline Mann a speedy recovery after her
recent health problems. We thank her for
diligently reporting on ceramic events and artists
on the west coast since 2005, as the State
Representative for WA.
television producers in NSW. With an emphasis
on Australian craftsmanship, Crackle Medium
especially promotes and focuses on ceramic
artists; www.cracklemedium.com
Correction to text in JAC, issue 50/3, The
Narrative Knot catalogue:
Jan Howlin - Tools of Engagement is a
collection of domestic objects, created in a range
of camouflage patterns in happy household
colours. It alludes somewhat tongue-in-cheek to
the tensions that almost inevitably arise, whether
rarely or with regularity, through the passage of
everyday life in the domestic arena. Taking the
fantasy of domestic bliss to task, the work also
raises the suggestion that 'if it's love it's worth
fighting for'. Choose your weapons; prepare for
action!
Sydney-based food photographer and food
stylist, Dario Milano (www.foodpixels.com).
has just launched his newest project Crackle
Medium, an online prop hire business catering
to food and lifestyle publications, advertisers and
Gail Nichols, beaker: photo: Crackle Medium
A big thank you to Ingrid Tufts from the
current and past editors of The Journal of
Australia Ceramics. Ingrid, a ceramic artist from
Melbourne, generously donated a gorgeous
porcelain beaker to each editor, inscribed with
the dates of their editorship, as a memento of
JACs 50 year anniversary celebrated at Manly
Art Gallery & Museum on 22 January 2012 .
www.tufts.com.au
Vale: Bob Grieve, potter
Died 17 October 2011 in Roma, OLD
aged 82
Vale: Kunmunara (Carol) Williams, potter
Died October 2011 in South Australia
aged 34
Vale: David Boyd, painter and ceramicist
Died 10 November 2011 in Sydney, NSW
aged 87
Vale: Wanda Garnsey, potter
Died 24 December 2011 in Sydney, NSW
aged 97
4 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

All things digital
QR code. What's that?
Our 'Shoot the Potter' image folder on Flickr is well worth a
visit, 50 try the QR Code on the right to view the images.
A QR (Quick Response) code enables you to view and
bookmark a web page using your digital device.
Download a QR reader app to your smartphonelipadltablet,
open the app, point it at the black and white square (right)
and your device will scan the QR code. You will then be taken
online to view our Shoot the Potter images.
It's free and VERY clever! Give it a go right here.
Would you like to see your exhibition
review on our new blog?
Check our new blog out here:
http://australianceramics.wordpress.com/
Submissions are now open for short and (not
necessarily) sweet reviews of exhibitions you have
visited.
Requirements for blog reviews: 1 50-200 words
along w ith a link to a website for images, or
attach 2-4 low res (72dpi) images. Please send
your review as plain text (no fancy formatting).
Send by email to mail@australianceramics.com.
If you would like an email every time there is a
new blog post, click on the FOLLOW button (see
bottom right of blog page) and enter your email
address. You will be sent a confirmation email.
AUSTRALlAIICERAIlICS
__ .. w-._ --..... __ __.
~~-----
-
Be sure to enjoy our extra web features online at www.austraUanceramlcs.com
Go online to enjoy a
. Jan Howlin's visit to Peter's studio in
the Blue Mountains, west of Sydney, resulted in this unique opportunity to capture his thoughts about
the early days of JAC's predecessor, Pottery in Australia, and memories of his life as a studio potter.
Read Michael Stephan's article by Jo Mcintyre Bornemissza, then go to http://vimeo.com/4826053
to view
on his life and work, one of three 'stillsbased'
biographies that accompanied the exhibition Working Fire at Carnegie Gallery, Hobart Tasmania.
This issue's web-only article is a .
of HYPERCLAY: Contemporary
Ceramics. Read Altair's overview of the exhibition, then go behind the scenes with the artists by
downloading the free iTunes app, HYPERCLAY: Contemporary Ceramics.
THE IOURNAl OF AUSTRAlIAN CERAMICS APRil 2012 5

THE TRUDIE ALFRED BEQUEST
CERAMIC
SCHOLARSHIPS
Congratulations to the inaugural winners of The Trudie Alfred Bequest Ceramic Scholarships 2012-
Amy Hick (ACn, Janetta Kerr-Grant (VIC), Tracey Mitchell (NSW), Serena Rosevear (TAS) and
Sharon Thompson (NSW). It was wonderful to be able to present the awards to four of the five winners
at the celebrations for our 50th Anniversary on 22 January 2012 at Manly Art Gallery & Museum.
Each of the five winners received $4000, which will assist them w ith their ceramics studies at a tertiary
institution in 2012.
About the winners
Amy Hick is commencing Honours in a Bachelor of Visual
Arts, majoring in ceramics, at the ANU in Canberra. Her aim
is to investigate how the practice of installation can be used
as a device to create an immersive experience. She is also
curious to see how extravagant numbers of a simple object
can be assembled to create an elaborate work. Porcelain
and light are mediums that enhance each other and it is this
convergence that she would like to investigate.
E: amy.louise_89@hotmail.com
6 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

Janetta Kerr-G rant is studying for a Bachelor of Creative
Arts (Honours), Arts Academy, University of Ballarat. This year
her plan is explore the narrative and poetic possibilities of the
increasingly common experience of driving on vast freeway
networks, focusing on the signage, lighting and the fleeting
quality of movement, in a series of related ceramic vessels;
www.janettakerrgrant.com.au
Tracey Mitchell is studying an Advanced Diploma of Visual
Arts at Sydney Institute, Gymea, NSW. Her aim for the year
is to gain as much learning as she pOSSibly can and to make
the very most of her opportunities. She intends to explore
sculptural form using both slipcasting and handbuilding.
Within this, she intends to experiment with different surface
treatments including the consideration of the use of colour;
http://traceymitchellceramics.com
Serena Rosevear will be studying Bachelor of Contemporary
Arts (Honours) at the School of Visual and Performing
Arts, University of Tasmania. Her research will explore the
application of digital technologies to ceramic processes,
questioning the impact of such technologies on originality
and uniqueness, contributing to her overarching interest in
reaching an understanding of her place as a maker of objects
at this specific point in history; www.visuaiarts.net.au/
gallerylsrosevear or check out Serena's page on Facebook
Sharon Thompson will be studying Bachelor of Visual
Arts at Southern Cross University, lismore, NSW. She aims
to continue investigations into a new technique of 'ecoprinting'
on the ceramic surface through a natural plant dying
process. In parallel, she wants to continue refining her skills in
developing the form, and extend it from pure ornamentation
to incorporate greater functionality.
E: snsthompson@bigpond.com; T: 0427 682 923
APPLICATIONS OPEN SOON
A call for applications for the 2013 scholarships will be announced in the
next issue of The Journal of Australian Ceramics, 5112, July 2012, and on our
website, www.australianceramics.com.

Tribute
-----------------------
Vale Wanda Garnsey
1914-2011
Some sad news. Wanda Garnsey,
the founder and first editor of Pottery
in Australia (now The Journal of
Australian Ceramic, JAC) passed away
on 24 December 2011 at the age of
97 years. As an active member of the
Potters Society of Australia, Wanda saw
the need for a journal that would provide
Australian potters with an overview of
what was happening in Australia as well
as overseas. After a few PSA meetings
in which this was discussed, Wanda
decided to go ahead and just do it. On
seeing the first edition, members of the
Potters Society of Australia - who had
been expecting a modest newsletter -
realised the extent of Wanda's vision and
applauded it.
Wanda Garnsey
Photo: Douglas Thompson
She showcased work by Australian
potters and provided in-depth cutting
edge technical articles using Australian
materials. There were reports on
exhibitions, workshops and visits by
overseas celebrities. Bernard Leach's visit
to Australia featured in the first edition.
Potters who travelled overseas were
persuaded to write illustrated articles on
their visits to potters in Asia, Europe, USA
and the Middle East. Her daughter, Julie
Blakemore, recalls Wanda cajoling articles
from potters uncertain of their writing skills (" Just get the gist of it down; I'll fix the rest! "), and, often
with Margaret Tuckson at her side, poring over her living room table spread with typewritten articles
glued on bits of paper. By herself, Wanda Garnsey created a template for the journal which, with a few
updates and revisions, remains the format for the JAC to this day.
Her desire to see the work of Australian potters recognised more widely led to Australian Pottery
(1972), co-written with arts historian and critic Kenneth Hood, a profusely illustrated book which
remains a valuable resource for researchers into Australian studio ceramics. Wanda had a deep interest
in Asian ceramics. After several visits to mainland China, Japan and Korea, in 1983, in collaboration
with NZ writer Rewi Alley, she wrote, China, ancient kilns and modern ceramics: a guide to the
potteries, which is still cited in the Encyclopedia Britannica online as a reference text.
12 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

Left: Wanda Garnsey jug; right: Wandy Garnsey, stoneware, magnesia glaze, tallest h.22cm; photo: Geoff Hawkshaw
Pottery in Australia, Vol 8, No 2, 1969
Wanda, who studied ceramics at East Sydney Technical College (EST( ) under Peter Rushforth and
Mollie Douglas, was also a talented potter whose work is in the collection of the Art Gallery of NSW,
the Powerhouse Museum and the Manly Ga llery and Museum. Photographs of her work can be seen
in the National Library Trove archive. She was an avid experimenter with glazes and clay bodies. Julie
remembers the family heading out for the day with spades and sugar bags to dig up local clay and a
studio with buckets of glaze everywhere.
Wanda had a strong social conscience. She was a member of the Women's International League for
Peace and Freedom, especially active during the Vietnam War and the French nuclear tests in the Pacific.
She organised and edited the Pearl Beach Recipe Book, the proceeds from which went to a fund that
she started, Medical Aid for Children of Laos, for which she raised almost $70,000.
Even though she had ceased her own ceramics practice by 1972, Wanda retained a strong interest in
ceramics and her house was still a stopping off place for local and overseas ceramicists for many years.
Wanda relinquished her editorship of Pottery in Australia in 1974 aft er twelve years as the editor,
continuing to receive copies of t he JAC up to the present. The Australian Ceramics Association reg rets
her passing, and gratefully acknowledges her outstanding contribution to Australian ceramics,
The Journal of Australian Ceramics and TACA.
Vale Wanda Garnsey.
Karen Weiss
With thanks to Julie Blakemore for sharing her memories of Wanda,
THE IOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 13

Tribute
Kunmunara (Carol) Williams
1977-2011
Kunmunara (Carol) Williams
was one of the true great
talents, both in Ernabella
and on the Lands. She was a
proud Pitjantjatjara woman.
My main contact was with
her work in ceramics while
I was in Ernabella for nearly
two years.
Kunmunara (Carol) Williams, Ernabella, SA
Image used with the permission of Carol's fami ly_
When I picture her it
was both with a wonderful
smile and a hint of shyness,
especially early on. This soon
changed when concentration
was required . She came into
the studio, flicked her hair
back and started work on the
latest piece.
Her first large ceramic piece was shown in 2006 at the National Ceramics Conference in Brisbane. It
caused considerable comment with many people wanting to obtain the work. It was truly a masterwork.
Many people have continued to comment on its artistic power as it has travelled around a number of
exhibitions.
Kunmunara also contributed to the initial stages of the Remote Communities Ceramic Network
involving ceramic artists from Ernabella, Hermannsburg and the Tiwi Islands. Her creative flair
contributed to these interactions, especially her collaborative works w ith Robert Puruntatameri from
Pularumpi on Melville Island. Such connections across Indigenous communities are so important for
individual artists as well as the communities they represent.
The powerful works she produced helped to establish recognition for Ernabella ceramics as her
individual artworks reflected both traditional mark making and contemporary Pitjantjatjara expression.
Her recent work indicated her continuing development as a powerful ceramic artist. Thanks to Janet
OeBoos and the Ceramic Workshop at the ANU for their continuing support of these ceramic artists
from remote communities.
We have lost a uniquely talented woman.
"Tjakurinanyi munu kulpai kangkuru! "
(Farewell and goodbye sister)
Geoff Crispin
'4 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

Kunmunara (Carol) Williams was a special
person with a singular talent that was continuing
to develop in breadth and sophistication. Her
works stand out amongst decorated ceramics from
Ernabella and she had become one of the most
important artists working there in this medium.
My relationship with her started through one of
her works, shown in an exhibition at the National
Ceramics Conference in Brisbane in 2006. This work
'bought me', rather than the reverse. I simply had to
take it home. There was a powerful quality in it that
was irresistible. It subsequently did come home after
being on loan to the Powerhouse Museum for the
important exhibition, Smartworks.
I later met Kunmunara (or Carol as I ma inly knew
her) through the Australian National University's
involvement in the Remote Communities Ceramics
Network (RCCN) project. This was a project
developed by Geoff Crispin, to allow communication
and sharing of ideas and expertise between different
Indigenous communities. Ernabella (and Carol)
became pivotal in the success of the project. She
worked both in the desert and at ANU in Canberra,
where her prodigious and thoughtful output was
inspiring to students.
Carol Williams (Ernabella, South Australia), Vase, 2006
terracotta; photo: Sotha Bourn; reproduced courtesy of the
PO\'Verhouse Museum, Sydney, NSW
Carol was in turn shy, naughty, very attached to her family and independently focused on her work.
She tried everything, being very quick at seeing the potential in new techniques and new ways of
working.
Carol's death comes at a time when she had been chosen to be one of the artists due to travel to
Jingdezhen in China, to connect there with a much older ceramic tradition and to experience working
on the expansive canvas of very large porcelain pots. That she will not be able to try this is a loss to the
art world, but nothing compared to the loss experienced by her family - her son Mutju and her sister
Tjimpuna.
It is always sad when someone dies, but when a younger person dies, and one who was such a force
in her community, it is a tragedy.
One of the great privileges of working with Carol and the other artists and communities that are part
of the RCCN is that we all learn and grow, and understand more about continuity. Carol's role in that
process will be manifest through the young girls she taught in the school, through her equally talented
sister Tjimpuna, and, most of all, through her singular pots.
Janet De Baas
THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012
IS

Tribute
Vale David Boyd
1924-2011
David Fielding Gough Boyd was the fourth
child of the famous Australian ceramicist
(William) Merric Boyd and Doris (nee Gough)
Boyd. He grew up in the family enclave
known as Open Country, in the suburb
of Murrumbeena, which was (then) on the
outskirts of Melbourne. His childhood was
unconventional, bohemian and artistically rich .
All the Boyd children helped out with the
family ceramics business from an early age,
and David was no exception. He studied
music (he was a gifted pianist) and (briefly)
painting in Melbourne, before moving to
Sydney during the period 1946/47, where
he helped his brother Guy Boyd (who was
studying sculpture at the National Art School)
establish a commercial pottery. This colourful,
fashionable pottery was sold under the name
of 'Martin Boyd Pottery' and it was a highly
successful venture.
In 1947, David met the precociously
talented Hermia Lloyd-Jones, a student at the
National Art School. They married in 1948
Hermia Boyd and David Boyd, Murrumbeena, 1959
and spent the rest of their life together, until
Hermia passed away in 2000. From the late
1940s to the early 1960s, in Australia, England
and Europe, David and Hermia Boyd made commercially successful and artistically adventurous ceramics.
They left Australia to live in Europe (for the second time) in 1961, just as the Australian ceramics
scene was coming of age, but there is no doubt that David and Hermia Boyd were the most successful
Australian ceramicists of the post-war period.
Although they continued making ceramics in England into the 1960s, David's preoccupations had
increasingly turned to painting, and his career as a potter came to a close. A full retrospective exhibition
of the ceramics of David and Hermia Boyd is long overdue, and would shed a great deal of light onto a
formative period of Australian ceramics.
Damon Moon, Willunga 2012
Editor's note: see Damon Moon's article, 'A Family Affair - the Boyds and the History of
Australian Ceramics', lAC, 48/3 November, 2009, pages 24-29
16 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

Perspective
Grace Cochrane at the
MAG&M celebration
22 January 2012
Photo: Glenn Duffus
The Journal of Australian
Ceramics: 50th Anniversary
Celebration
Speech by Grace Cochrane at Manly Art Gallery & Museum, 22 January 2012
Thank you Patsy, and to Vicki and those others representing the Association and the Journal, for inviting
me to speak at this very significant occasion.
Fifty years of continuous publication! That is a milestone in anyone's terms, but even more so when
the achievement has been carried out completely within the organisation, its members, subscribers and
advertisers, over all that time.
Pottery in Australia was first published in 1962, shortly after the founding of the Potters Society of
NSW (later of Australia) in 1956. Everyone was excited by the international studio ceramics movement
focused largely around the work and writing of Bernard Leach, and specifically his visit to Australia
in 1962, which prompted the publication of the first issue. Peter Rushforth (who is here tonight),
Mollie Douglas, Ivan McMeekin and Ivan Englund were founders, while Margaret Tuckson and Bobbie
Rushforth (both also here) were also around at the time. And as a member of the Potters Society, Mollie
was one of those who represented Australia at the first World Crafts Conference in the USA in 1964.
In Australia, the Potters Society was arguably the first distinctively professional studio crafts group,
following the Arts and Crafts Societies that had existed since the early 20th century, and the Spinners
& Weavers and Embroiderers Guilds which had formed in the late 40s and 50s. It was soon followed
of course, by a range of state potters groups, most of which also survive today: the state crafts
organisations from the early 70s; and from the late 70s into the 80s, specialist groups for jewellery and
metalwork, glass, furniture and woodworking.
Everywhere you turn at the moment, there seems to be an anniversary: the Ceramic Study Group
follows you with their 50th next year; Craft Australia and most of the state craf ts organisations are
hitting 40 (Jane Burns, first director of the Crafts Council of Australia is also here); Ausglass and JMGA
are recovering from 30. How lucky we have been to be part of this extraordinary time.
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 17

Perspective
Pages 18-20: PROmotion exhibition, Manly Art Gallery & Museum
22 January 2012; photos: Glenn Duffus and Vicki Grima
Why did the Potters Society want a journal? Wanda
Garnsey said in her editorial in Vol 1 No 1, in May 1962:
.. . Pottery in Australia has been produced primarily to
disseminate information among potters, and to endeavour
to promote a better understanding of our problems, both
technical and aesthet ic.
This first edition, with an article on stoneware bodies,
and another on the more intangible subject of a potters
philosophy, together with photographs of pots, tries to fulfill
this purpose.
Acknowledging the stimulus of Bernard leach's personality
by publishing this edition following his visit to Sydney, we
would yet stress the fact that the potters themselves are
the mainstay of this and any future production. We depend
on the support of our subscribers and the stimulus of our
contributors. With this encouragement the journal may
expand in scope and perform a genuine service to potters.
While she couldn't possibly anticipate the future at that
time, it is certain that over these 50 years the journal has
indeed performed a "genuine service to potters" and the
potters themselves, as subject, authors and subscribers, have
continued to be the" mainstay" of the journal.
Pottery in Australia was also part of a national and
international network of publishing. In the USA, Craft
Horizons started in the 40s as a mimeographed sheet,
becoming part of the American Craftsmen's Council in 1959;
and the USA journal Ceramics Monthly started in 1953.
NZ Potter went for 40 years from 1958-1998; Ceramic
Review, in Britain, seems to have started in 1970; Craft
Australia was launched in 1971, just before the British
Crafts magazine.
So Pottery in Australia was not only very early on the
scene - but it has lasted, publishing continuously from 1962,
since 2006 as The Journal of Australian Ceramics. This
co-incided with the shift in name from the Potters Society of
Australia to The Australian Ceramics Association, to reflect
the diversity of current practice. It has also always been
national in its reach.
Central to the success and long life of the Journal, has
been the commitment of the editors who have produced
what are now 146 issues, bringing us to Vol 50 no 3.
Vicki has just spoken about how she tries to assess what

is necessary for the time, what she looks for and how she
goes about getting that together. This process has also been
addressed in their own ways by her predecessors: As you
will know, they are, from present to past, Vicki Grima, Trisha
Dean, Sue Buckle, Leonard Smith, Janet Mansfield, Margot
Staples, and founding editor Wanda Garnsey.
Apart from representing potters - their work, their ideas
and the context in which they work - the Journal has also
offered many opportunities for writers, both those who
specialise in that field as well as potters or ceramicists who
also have a talent for it, and may be interested in putting
thoughts into words. I think this opportunity is one of the
journal's distinctive features; people are able to offer their
informed research and observations within the critical and
informative framework of the journal.
It has also given many people a start for writing elsewhere,
and for further study, research and publication. I think you
could say that Pottery in Australia was the catalyst for
Wanda Garnsey who co-authored with Kenneth Hood,
Australian Pottery, in 1972, probably the first publication
on studio ceramics in Australia, and for Janet Mansfield who
not only produced separate publications but also set up
her own journals, in 1990 and 1995. It certainly provided a
context for publications such as Th e Artist-Craftsman in
Australia by Faye Bottrell in 1972, Nine Artist Potters by
Alison Littlemore and Kraig Carlstrom in 1973 and Twelve
Australian Cra ftsmen by Patricia Thompson in 1973.
Pottery in Australia also provided a context for earlier
more technical publications such as Ivan Englund's research
of 1962' and Ivan McMeekin's of 1967. 2 Today, of course, it
reviews writing in publications and exhibit ion catalogues as
well as ceramics practice, as a matter of course .
Also crucial to the success of the journal, has been the
strong support of galleries across the country, of TAFE
colleges and universities, and suppliers of clay and equipment.
Consistent advertisers over the years have included wellknown
businesses such as Walkers, Cesco, Venco, Woodrow,
Clayworks, Keanes and Feeneys.
It seems to me that those founding ideals of providing
information and promoting understanding have continued
at the core of the journal's work. It has celebrated exciting
developments, acknowledged influential people and
challenged thinking about ceramics. And above all, when we
look at the record of these 146 journals, they represent an
extremely important archive; an unparalleled record of the
time and a resource for the future. It is a treasure. And this
process continues!
In recent years, of course, the journal has been joined
by a website, and at the opening of the exhibition, Cover
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Perspective
The Journal of
AUSTRALIAN
CERAMICS
Wanda Garnsey 1962- 1973 25 issues
Margot Staples 1974-1976 5 issues
Janet Mansfield 1976-1990 39 issues
Leonard Smith 1990--1991 6 issues
Sue Buckle 1991-2000 37 issues
Trisha Dean 2001 - 2005 16 issues
Vicki Grima 2006-current 18 issues
Story: celebrating 40 years of Pottery in Australia at the Powerhouse Museum 10 years ago,
the Association launched its online Australian Ceramics Directory, linked to the website. This was a
contemporary development of the first published directory (Potters in Australia, a Directory) in 1977,3
and subsequent updates. You can now access articles online as well. Despite these online developments,
the subscriptions for the print copies for The Journal of Australian Ceramics remain constant; clearly
audiences still value the physical nature of this resource and like it on their shelves, within reach .
One of the things I noticed at the launch of Cover Story in 2002, when all those 116 covers to that
date, were displayed together, was that as well as the fantastic historical record of ceramic practice that
they contained, they also represented a history of graphic design processes and styles, and photographic
and printing processes. It didn't quite start as a mimeographed sheet like Craft Horizons, but it was an
achievement to publish those 26 pages with black and white photos, and it is salutory to acknowledge
how different, in this 50th year, is the process of communicating, editing, preparing images and
printing.
I am sure that Wanda Garnsey, who sadly passed away just a few weeks ago, will have been proud
that her hope that the journal "may expand in scope and perform a genuine service to potters",
had certainly done just that. Her daughter, Julie Blakemore, mentioned tonight how collegiate she
remembers those in the ceramics world - and nothing has changed! Look at you all! The core values
and purpose remain, but the opportunities, examples, ideas and experiences are constantly changing
and I know it is always challenging and exciting to keep up with them - and anticipate them!
The Journal is a credit to its founders; to all the editors who have followed; to all the writers,
photgraphers, advertisers and researchers who have been part of it - and above all to the strength and
interest of you, the ceramics community, who have all been associated with the Journal and see value in
it. This is what Wanda called "the stimulus of the contributors" . It is particularly rewarding to hold this
event at the Manly Art Gallery & Museum, which has always been a keen supporter of the Association,
as well as its biennial exhibitions, such as these two that we've enjoyed over the last couple of months.
Congratulations to everyone here who has been involved in the Journal over its amazing half century.
I'm betting that in another fifty years another group will be here marking another milestone. I wonder
what they will be saying?
1 Ivan Englund, The Applicatiofl of the Igneous Rocks of the lIfawarra Region to Stoneware Glazes in Studio Pottery. unpublished thesis. 1962.
2 Ivan McMeekin, Notes (Of Potters In Australia. Vol I: Raw Materials and Clay Bodies, NSW University Press, Sydney 1967. pp 63·64
3 Potlers Society of Australia, Potters in Austral,a, a Directory. 1977.
Grace Cochrane is an independent curator and writer. Until 2006, she was Senior Curator of
Australian Decorative Arts and Design at the Powerhouse Museum, Sydney.
20 THE JOURNAL OF AUSTRALIAN CERAMJCS APRil 2012

Perspective
Dee Taylor·Graham at the
MAG&M celebration
22 January 2012
Photo: Glenn Duffus
PROmotion
Curator, Dee Taylor-Graham concludes
Early last year Michael Keighery and Vicki Grima
sent a letter out inviting about forty Australian
ceramicists to be a part of an exciting project called
PROmotion.
Conceived with the dual intentions of fostering
dialogue about The Journal of Australian
Ceramics (JAC) and providing an opportunity to
talk about current work, PROmotion started as an online blog (www.jacpromotion2011.com) and
culminated with an exhibition at the Manly Art Gallery and Museum (MAG&M) in December 2011 .
From April 2011 , the participants, all of whom had appeared in the National Education Pictorial
Survey of the JAC, introduced themselves via the blog and posted images of their studio spaces and
work produced therein.
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THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012 21

Perspective
In September, when Vicki asked me to take up where Michael had left off as curator, I put forward
a number of questions, asking the bloggers to talk in detail about the whos, whats, wheres and, most
importantly (to my mind at least),. the whys of their studio practices.
Given the intentions of the project and the impending 50th anniversary celebrations, I was also
very keen to keep asking the original question posited by Michael, regarding the role of the JAC in
the development of the bloggers' careers. Had it acted as a source of inspiration, conversation and
connection to community, point of opposition or all of the above?
In thinking about our place in history, I also encouraged the bloggers to consider, and post about,
points of interest or inspiration within the MAG&M's impressive collection of Australian ceramics.
1 Anne-Maria Plevier
2 Josephine Pittman
3 Owen Carpenter
4 JoWood
5 Jan Downes

Perspective
From this dialogue, seven artists were selected to be in the final exhibition_ I also invited a couple of
last minute ring-ins to join the blog, both of whom had featured in the education survey and embraced
the blogging platform with vigour.
The work of these nine artists was shown at MAG&M alongside influential work from the collection,
treasures from the JAC archives and a Then and Now projection created by Esther Shilling to trace the
JAC's 50 years _ An added bonus was the loan, from Hornsby TAFE, of Mollie Douglas' tools, materials
and a wheel built by her father, capturing the pioneering spirit seen in the early years of the JAC
Thanks to all the bloggers, the final nine artists, the wonderful staff at MAG&M and most of all to
Vicki Grima_ Here's to another 50 marvellous years of The Journal of Australian Ceramics_ Onwards
and upwards_
6 Maria Vanhees
7 Keiko Matsui
8 Charmain Hearder
9 Joey Burns

Pe rspect ive
Filthy Lucre: how money
has helped to shape
Australian ceramics over
the past half century
Comment by Damon Moon
The best things in life are free
But you can keep them for the birds and bees
Now gimme money (that's what I want)
Money (that's what I want)
Gordy/Bradford 1959
Nostalgia can be comforting, but it's all too easy to wallow in a past that was really more like the
present than one likes to think.
The Gordy/Bradford song was playing around the time Pottery in Australia was first published in
, 962; Robert Menzies was Prime Minister, and EK Holdens were rolling off the production line, and
tended to (forgive the tortured metaphor) paint a picture of Australian ceramics in, if not sepia tones,
then at least colours reminiscent of an old Kodachrome slide. We think of it as being far removed from
what happens now, but the reality is that only a few changes have occurred in Australian ceramics over
the past five decades, and those changes, important though they are, are probably not the ones we
expect to find.
For a start, not a lot has altered in the sort of work that is made. Ceramics can still be separated into
the same categories of objects that it occupied fifty years ago; namely, vessel-based work and everything
else. There may be a quibble about when ceramics becomes sculpture or at what point a pot becomes
a representation of a pot, but, for the purposes of this discussion, I'm contending that nothing new has
arrived on the scene during the past half century.
We've had faux Sung and faux just about everything Japanese. Modernism, Funk. Memphis, Post
Modernism, Cool Porcelain, Designer Groupings. Conceptual Clay and God knows what else. Even the
seemingly recent innovation of installations date back at least to the mid-seventies.' Some styles seem
to have come and gone while others have endured, but perhaps the only really notable change in all
that time has been a shift in interest away from brown clay, once the staple of Australian potters, to the
almost universal use of white clays, particularly porcelain.
24 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

Perspective
Pottery
~::: InAusbalIa
l eft: Pottery in Aurtralia cover, Vol 29 No 1, 1990
Below: Pottery in Australia, Vol 24 No 3, 1985, pages 74,75
AN OFFER
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Perspective
-----------------
Pottery in Australia cover
VoilS No 2, 1976
apprenticeships, this approach never caught on, and privately funded apprenticeships were always
destined to fail in a country where the teacher could hardly earn enough from the sales of work to
support themselves, let alone a trainee. The other approach, where ceramics was taught as a genuine
trade, wasn't ever really a starter, since traditional ceramics manufacturers were dying out by the time
the post war crafts movement had taken hold.
Despite this reliance on the art school system, the position of ceramics within the marketplace has
always been more ambiguous, with goods appearing in venues ranging from high-end galleries to craft
shops, private showrooms and even stalls in local markets. Sometimes a ceramicist would place work in
all of these venues simultaneously, showing a promiscuous disregard for the niceties that constrained
more mainstream artists and helped defined their practice.
Maybe the only consistent factor in Australian ceramics has been its continuing marginality; always
one sandwich short of a picnic as far as the art world was concerned, and increasingly fated to be on
the decline with a general public spoiled for choice in a modern consumer paradise. In fact, it is this
last observation which points to the factor that has conditioned every aspect of the development of
Australian ceramics, from the amateur to the professional, from academia to the marketplace. in both
the public and private sectors. and that is money.
Money may indeed be the root of all evil 1 (actually this is a malapropism - the original quote suggests
that the love of money is the problem) but the economy of the crafts, how money is earned and
distributed within a community of makers and consumers, has shaped Australian clay as surely as the
hands of a skilled craftsperson.
To see how this has happened, we must go back to the late 1940s when legions of returned
servicemen, aided by government funded retraining schemes, enrolled in courses in art schools and
technical colleges throughout the country. Although ceramics was only a very small part of what was on
offer it did allow some students to experience clay for the first time and to consider that some form of
artistic expression could be a part of their lives.
In addition to this, the ending of the period of wartime austerity had led to a proliferation of small
26 THE JOURNAL OF AUSTRALIAN CERAMICS APR il 2012

Perspective
ceramics manufacturing concerns. The Australian public were hungry for goods, and potteries across
the country sated the desire of the consumer for colourful, relatively inexpensive items that faced little
domestic competition in a highly protected market. The work may have been earthenware, and some
may have despised the seemingly endless supply of eggcups and ramekins that flooded the market, but
it was a business with a sound economic base.
At the same time, growing numbers of Australian potters, inspired by Bernard Leach's A Potter's Book,
embraced the challenges of stoneware. The aesthetic was different and the technology presented many
challenges, which doubtless was part of the appeal and explains the tendency of ceramics magazines to
include copious amounts of technical information. There was a ready market for this new style of work,
as it fitted well with the more avant-garde trends in architecture and homewares, although whether it
ever had the same level of mass appeal as earthenware is debatable.
Growing numbers of commercial galleries exhibited ceramics and, because of the good prospects for
sales, commissions were low and galleries wouldn't dream of charging up-front costs. Exhibitions often
sold out, and there are wonderful stories of gallery directors rationing sales to eager customers, such
was the interest in this new field of studio pottery. However, the major development in the ceramics
economy concerned the increasing amounts of public money flowing to the crafts. There were two main
sources of this extraordinary largesse.
The first was the proliferation of government-funded ceramics training courses. In departments of
further education, in vocational training and at art schools, the 1960s and '70s saw an exponential rise
in the adult education sector. Since ceramics was often a part of the school curriculum, teacher training
colleges incorporated ceramics departments as well.
The result was that by the mid-70s even a small state might have a dozen or more fully functioning
ceramics departments scattered throughout the metropolitan and regional areas. Many of these
institutions offered a range of courses, with part-time and after hours ceramics classes being very well
attended indeed.
All of these departments needed to be staffed and equipped, and a reasonably talented ceramicist
might well look forward to gaining at least some of their income from teaching, with the most fortunate
ones being offered the sinecure of a tenured position, together with generous working conditions and
the prospect of a highly subsidised superannuation scheme on their retirement.
We also shouldn't forget the students who, thanks to the Whitlam years, now had access not only to
free education but a student allowance that prOVided Gust) enough money to live on, which led to ever
greater numbers of people moving through the art departments.
If this era saw an expansion of the higher education sector, it also witnessed another facet of
government support for the crafts, which was the introduction of the grant, or should that be the
GRANT.
As Grace Cochrane notes:
"Towards the end of the 1960s, the first moves were made to rationalise and co-ordinate the ways in
which the federal government funded the arts, a development that was to reach its fullest form in the
reshaped Australia Council for the Arts in 1973."3
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 27

Perspective
The newly elected Prime Minister, Gough Whit lam, called on Jean Battersby, the C EO of the then
Australia Council (originally an organisation mainly concerned with funding the performing arts), to
prepare a report for the new government that highlighted the administrative and, from a strongly
centralist government's point of view, philosophical problems presented in overseeing the raft of existing
arts funding bodies 4
Predictably enough, Battersby found that, " ... the present situation is not satisfactory from an
administrative point of view ... " 5 To conjure the blessed spirit of Sir Humphrey Appleby, " steps needed
to be taken " .
After all, Whitlam, w ith characteristic hyperbole, had stressed the importance of the arts to his new
government, stating that,
. all the other objectives of the Labor government - social reform, justice and equity in the
provision of social services and educational opportunities - have as their goal the creation of a society in
which the arts can f1ourish ".6
Never one to waste time, on Australia Day 26 January 1973, Whitlam announced the first
appointments to a new arts council, comprising seven specialist boards, of which the Crafts Board was
one. For the first time, the crafts had a seat at the adult table.
State governments followed suit, allocating funds through newly created departments of the arts to
local crafts boards, which were often also funded by the Australia Council. Offices were rented, staff
appointed and these organisations, state and federal, came to control the purse strings.
Not that the strings were drawn very tightly, at least in the beginning. Fiscal rectitude was not one
of Gough's strong points, and activities that had hitherto seemed to be the domain of the hobbyist -
basket-weaving and the like - soon found themselves being encouraged and given financial support,
and the mechanism by which this was achieved was the grant.
In an interesting historical coincidence, it was at about this time that the influence of a mainly
American school of avant-garde ceramics, transmitted through the pages of that esteemed journal Craft
Horizons, really began to be felt in this country.
This was a new type of ceramic work that was at the very forefront of post -modernism, revelling in
its 'dumbing down' of high-art pretensions and poking fun at the rather serious and tasteful world of
studio pottery. Unfortunately, these new ceram ic objects were mostly unsaleable, and it is here that we
begin to see the negative side of a system that supported artists to make things the public simply didn't
want.
This is such a complex equation that unravelling all the permutations should be the subject of at
least one PhD. Suffice to say that the combination of providing government assistance for individuals to
make work, together with rewarding many of those same individuals with teaching positions, as well as
generously funding non-commercial gallery spaces to show work which was going to be very difficult
to sell, led to a situation where many ceramicists didn't take the attitudes of the general public into
consideration at all, because they had no financial incentive to do so. This represented a paradigm shift
in the relationship between Australian ceramicists and a public that had hitherto supported the crafts in
a fairly enthusiastic manner.
28 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

--------
Perspective
There began an inevitable drift away from ceramics. Ceramics departments began to close down and
the student numbers dwindled. The new management-driven class of education administrators (whose
numbers were actually rising!) used this as an excuse to close more courses, and it just went on from
there. Private galleries weren't as w illing to exh ibit ceramics, because the sales had begun to drop off.
They also charged a lot more for the privilege, regularly demanding up-front fees to cover costs, a
punitive economic burden which the artist frequently tried to defray by - you guessed it - applying for
a grant. Ironically, this practice was also adopted by government-funded spaces that found themselves
in the privileged position of being paid (how shall I put this delicately?) to both give and receive at the
same time.
Amidst all this discussion of the role of government in shaping Australian ceramics, what is to be said
of the ultimate consumer, the so-called general public? What role have they played in all of this?
Tastes certainly do change, as does the availability of goods, and w ith it the way people choose to
spend their money.
In the heyday of the crafts, inner-city shopping precincts barely had a coffee shop or restaurant to
their name. Whole categories of modern consumer goods simply didn't exist. This is significant because
spending on the crafts is discretionary. The funds can just as easily be spent on something else, for
example anything beginning w ith a lower-case 'i', or eating out.
Shops are now full of ridiculously cheap ceramics, mostly, but not exclusively imported from China,
a country which has been pretty good at cornering a global market for export ceramics for over five
hundred years. Whereas you simply couldn't go into a store in the 1960s or '70s and buy a nice set of
plain white noodle bowls for a couple of dollars each, now you can get them at the supermarket. This
is pretty serious competition for a potter who makes functional wares and it takes a very informed and
dedicated consumer to spot the difference .
In the end, perhaps all one can really say is that in ceramics the distribution of government money
has had a definite impact on what is made, but then again so has the normal ebb and flow of the
marketplace. The final arbiter of the arts economy is actually the secondary market, which is about as
free as the free market gets, " ... Nature, red in tooth and claw ... "7, though I don't think Tennyson had
Sotheby's in mind when he came up with the phrase. It will probably take another fifty years to sort it all
out.
1 For example, Eros in Porcelain. an exhibitoo by the then Adelaide-based ceramicist Mark Thompson at the S.A. Craft Authority Gallery in May,
1976. A detailed review of this exhibition, written by Dick. Richards, can be found in Pottery In Australia, VoI. 1S. No.2 p.66
2 Timothy, chapter 6 verse 10
3 Grace Cochrane, The Crafts Movement in Australia: if history, p.13S New South Wales University Press. 1992
4 WN'N. aph.gov.aullibrary/pubs/BNf2008-9IArt5Policy.htm from a document prepared by Dr. John Gardiner-Garden
5 Jean Bauersby, First Annual Report, January to December 19 73 Australia Council for the Arts, 1973 p. 9
6 Gough Whitlam. The Whit/am Government 1972- 75. Viking 1985 p. 553
7 Alfred lord Tennyson, In Memorium A H.H .. 1850 (canto 55)
Damon Moon
Willunga, 2012
http://damonmoon.com
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 29

Profile
The Whole Man
The Life and Work of Peter Rushforth by Jan Howlin
Peter Rushforth emerges from Le Var, the rustic Blue Mountains house where he and his wife Bobby
have lived for more than 30 years, and approaches with an open hand and a warm, gentle greeting.
No doubt many have been welcomed into the Rushforth's realm in this way - a household of genuine
congeniality set in an environment of dramatic natural beauty, the whole experience heightened by the
presence of his studio, kilns and pottery. Widely regarded as the father of studio pottery in Australia,
Rushforth has been celebrated over many years for the exemplary life he has led as a potter and teacher,
and for the inspiration he has been to many in the ceramic field, demonstrating through his work, his
person and his lifestyle the firmly-held philosophy that has sustained him.
Rushforth's work is represented in many private coiled ions and major galleries around Australia and
internationally; and his considerable contribution to the ceramic field and to the community has been
acknowledged through his appointment to the Order of Australia in 1985, by a retrospedive at the
National Gallery of Vidoria (also in 1985), an Australia Council Emeritus Fellowship in 1993, a Fellowship
of the National Art School in 2003, and an Honorary Dodorate of Fine Art from RMIT in 2010.
Rushforth came to pottery after World War II - possibly because of it. Born in Manly, Sydney, in 1920,
he always liked to make things with his hands. Both his parents died when he was quite young and
he developed a penchant for self -sufficiency. While serving in the armed forces, he became a Japanese
prisoner-of-war in Burma and in Changi where, since the contents of Singapore Library had been
made available to prisoners, he read about art and philosophy. Here Rushforth learnt of the ideas of Dr
Soetsu Yanagi, who, along with Shoji Hamada and Kanjiro Kawai, had developed the Japanese folk art
movement, Mingei.
Like countless others returning to civilian life after the end of World War II, Rushforth was searching
for a future that would be meaningful and productive.
He studied art for four years at The Melbourne Technica l College (MTC, later RMIT) under the
Commonwealth Reconstrudion Training Scheme. During this time, he says, "I met Allan Lowe, who
was one of the early pioneer potters before the war, and that's what really influenced me in becoming
a full-time potter." At Lowe's Ferntree Gully pottery Rushforth witnessed the kind of constructive,
self-sufficient way of life he was looking for. "Although I had wanted to do art, I hadn't focused my
direction, and his work, rather his lifestyle, influenced me."
30 THE JOURNAL OF AUSTRALIAN CERAMICS APRI L 2012

Profile
At MTC Rushforth applied himself to pottery fUll-time. He was taught by John Knight and Jeffery
Wilkinson, and completed his studies in 1949. At that time, he recalls, pottery made in Australia was
largely influenced by the decorative style of the manufactured wares of Stoke-on-Trent. Almost everyone
worked in earthenware, while Rushforth was strongly drawn to stoneware. He had been greatly
impressed by the H. W. Kent Collection of Oriental ceramics held at the National Gallery of Victoria,
which afforded him first hand experience of Song dynasty stoneware with its chun and celadon glazes.
The Kent collection had also influenced Lowe, along with Harold Hughan, who was the first studio
potter in Australia to build a stoneware kiln.' Rushforth visited Hughan at his Glen Iris pottery several
times and attended lectures on stoneware glazes given by his son, Robert.2 "I really wanted to go in
that direction," says Rushforth, "but we had very little knowledge of how to achieve those techniques."
The information Rushforth did have - ideas that made a powerful impact on him - came from
Bernard Leach 's iconic work, A Potter's Book, which was published in 1940. Having studied with
Hamada in Japa n (1920-1923), Leach articulated the Mingei folk-art ethic, and in an attempt to bridge
Eastern and Western cultures he championed the making of functional stoneware with an Oriental
aesthetic based on the natural qualities of the ceramic materials. Leach's philosophy and ideas found
great resonance with Western potters and the Anglo-Oriental influence quickly came to dominate postwar
Australian ceramics J In 1950 East Sydney Technical College (ESTC) advertised a position teaching
pottery and in appointing Rushforth to the role he became it's chief protagonist 4
Relocating to Sydney, Rushforth and Bobby first moved to Beecroft, then to Church Point and later
to Shipley in the Blue Mountains. Along the way they had three daughters. At each home, Rushforth
built a studio and a wood-firing kiln or two and maintained his pottery practice alongside his teaching
commitments. His fascination for stoneware was shared by his fellow-teacher at EST(, Mollie Douglas,
who had laid the foundations of the pottery course there.5 In 1952, Ivan McMeekin returned to
Australia after working with Michael Cardew in England and established Sturt Pottery in Mittagong,

Profile
NSW. McMeekin brought with him a selection of pots by Cardew, Leach and others, and he and
Rushforth began meeting regularly with Douglas and Ivan Englund to examine the pots and share
information. "We were keen to start more research into high temperature work, but also to exhibit
as a group," says Rushforth and it was from these meetings that, in 1956, the Potters' Society of
Australia was established, with Rushforth its first president from its inception until 1961 . The group was
committed to creating functional stoneware pottery that exploited the natural qualities of their materials
to expressive ends. As Rushforth wrote at the time, " The challenge of producing high temperature
glazes with comparable aesthetic qualities to the beautiful classical glazes of the East was a goal of
many of us. "6
The 1950s saw what Noris Ioannou has called an " explosion of studio pottery" 7, which was inspired
by the Leach Anglo-Oriental influence, and which expanded in the sixties and continued into the
seventies. As Kenneth Hood from the National Gallery of Victoria described it, William Morris's Arts and
Crafts movement had heralded a revival of interest in the crafts in England since the 1920s when Leach
first returned from Japan, but it took until the 1960s for Australia to see an awakening of interest in the
crafts, with pottery as its primary focus. 8
"I think there was a worldwide interest in people using their hands and working creatively," says
Rushforth, " and pottery, out of the craft movement, probably dominated the numbers." In 1962,
Wanda Garnsey, a very active member of the Potters' Society .. established Pottery in Australia, now
The Journal of Australian Ceramics, which became a vital communication tool for the growing field.
"There were so many potters emerging that the Potters' Society expanded very quickly ... we were able
to liaise with potters in New Zealand and England and eventually with many of the Japanese potters,
who were invited to Australia by the Potters' Society."
Lots of Australian potters also went to study in Japan, including Rushforth, who spent five months
there in 1963. He visited Koishiwarra, a village of traditional potters in Kyushu; studied in Mashiko

Profile
with Shimaoka, a pupil of Hamada's; and worked in a studio at Kyoto Art University. Here he related
intuitively to the Japanese aesthetic and the appreciation of beauty as found in nature and expressed in
the tea ceremony. He wrote in an article he called The Good Pot, how he had become aware of the
vast diversity that existed within the Japanese tradition. He appreciated the tendency to asymmetry;
noted cultural concepts such as 'jaku', 'sabi' and 'shibusa' which are much appreciated by the Japanese,
and absorbed the notion that, "for the Zen masters, art is never decoration, embellishment; instead it
is a work of enlightenment, illumination, salvation. Art is a technique for acquiring liberty. "9 While his
early pots had exhibited" a classic simplicity and purity of shape" ' 0, Rushforth's trip to Japan led him to
a greater spontaneity in his work. 11 He found a new appreciation for imperfections, for the natural flaws
in the materials that the firing can bring out, and continued his investigation of the local materials that
would emulate the classic Japanese glazes with a deeper understanding of their creative uses.
When Rushforth began teaching at ESTC, he became the first full-time pottery teacher on staff.
Initially, pottery was taught part-time as a component in a design diploma, but by 1960 Rushforth had
created a full-time ceramics course. By 1963, he was Head Teacher of Ceramics, and in 1967 a Churchill
Fellowship enabled him to travel to Europe and the USA to study educational methods and training.
In 1972 he became Senior Head Teacher, a position that, "he held with distinction until his retirement
in 1979."12 As Kenneth Hood writes, "He was always a committed and inspiring teacher." Rushforth's
teaching principles were modelled on the advice of a Zen teacher, who advocated that you should first
"develop an infallible technique, and then leave yourself open to inspiration" 13
Rushforth gathered around him at ESTC a talented group of teachers who helped shape the course of
ceramics in Australia. Along with Mollie Douglas were Col Levy, Bernard Sahm, Derek Smith, Peter Travis,
Gillian Griggs, Shigeo Shiga, Sandra Taylor, Joan Grounds and others. 14 Many other renowned potters
were invited to talk and work with students, among them Takeichi Kawai, Tatsuzo Shamaoka, Robert
Hughan, Shoji Hamada, Mitsuo Shoji, Yu Fujiwara, Paul Soldner, Ha rry Davis, Michael Cardew, Douglas
Laurie and Fred Olsen'S Bernard Leach also came to Sydney briefly in 1962.

Pro file
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Under Rushforth's direction the pottery course at ESTC became the most respected in Australia, with
more than 200 students applying each year for only 18 available places'·, and many of these students
went on to become the ensuing generation's prominent ceramic practitioners - Marea Gazzard, Wanda
Garnsey, Margaret Tuckson, Peter Travis, Bernard Sahm and Janet Mansfield were among them. Grace
Cochrane confirms the extent of Rushforth's influence and the extremely high regard in which he is
held: "Throughout his long - and continuing - career, Rushforth has been an outstanding practitioner,
researcher, thinker, teacher and mentor" and he remains" an exemplary figure in the post-war ceramic
movement." 17
While fulfilling his teaching responsibilities, Rushforth also pursued his studio work, with the same
ideas and principles fuelling both endeavours. A belief in the humanising capacity of craft lies at the
heart of his philosophy. "I think it is human instinct to make and create," he says. Bernard Leach
described craft as "good works proceeding from the whole man. Heart, head and hand in proper
balance," and Rushforth acknowledges that in his" earlier work, the writings of Bernard Leach were a
great source of inspiration" . The idea that expressive hand-made work could counter the de-humanising
influences of the technological age was a powerful part of the impetus that motivated him, and many
others, in the studio pottery movement.
"My motivation for choosing pottery as my life-long work ... was the attraction of the lifestyle, and
the great pleasure of being involved in a constructive activity," Rushforth wrote in 1985, "yet there are
values that transcend the activity of making objects, such as the search for beauty and the validity of
one's work in relation to the community in which one lives." He found that validity in creating useful
pottery - plates, jugs, teapots and bowls - that in stark contrast to machine-made products powerfully
express the humanity intrinsic to their making. He also makes forms such as tea-bowls and blossom jars
that echo Japanese counterparts and reflect his interest in the Japanese aesthetic.
THE JOURNAL OF AUSTRALIAN CERAM ICS APRIL 2012 3S

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Rushforth's search for beauty and aesthetic expression derived from his materials has resulted,
according to Ian McKay, in a body of work that is largely concerned with understatement and a fugitive
aesthetic.'8 " The transcendent values universally acknowledged in all the great pottery traditions have
been one of Peter Rushforth 's life-long preoccupations" ' 9, he writes. But while admiring the long and
unbroken tradition of Japanese ceramics, the Japanese concept of beauty, and " the marvellous glazes
developed by the Chinese over millennia," Rushforth is adamant that "we don't want to just simulate
a culture. We have to establish work and ideals that are relevant to our own society." He believes
we should use our insights into Oriental pottery traditions and values to produce new glazes from
our local materials and develop our own philosophy to produce work that is valid to the Australian
environmenpo Kenneth Hood sees Rushforth 's success in this quest as one of his great achievements:
"There is something endemically Australian about his work: its roughness, vigour and feeling for natural
forms."
At Rushforth 's home, the Australianness of the Blue Mountains landscape is both undeniable and
dramatic. Modest timber structures are generously spaced amongst gardens tended by Bobby and
between tall stands of trees, with the Kanimbla Valley stretching out to the far distance. We walk
between them as Rushforth shows us the small timber gallery where his work is displayed. We pass
the area where he prepares his clay, find in his long-time studio, pots at various stages of completion
which sit beside buckets of glaze awaiting their next application, and finally arrive at his wood-firing
THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012 37

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kilns - an anagama and a single chamber kiln with a firebox attached. The whole place is one of
atmospheric beauty and intensely felt weather. It is an environment subjed to mists and storms, snow
and searing heat, and the occasional bushfire, and in between it is idyllically agreeable. While Rushforth
has developed his own versions of the classic Japanese glazes and finishes over the years - Chun,
Tenmoku, Celadons, Shino and ash glazes, and has also used natural ash and the flame effeds achieved
through firing - it is the Chun glaze, originally from Song dynasty China, that has most captured his
imagination. He says this is partly because the blue is rich and atmospheric. It is not the result of a blue
pigment, such as cobalt, but is created as light is diffused through minute bubbles within the glaze. " I
like the opalescence of the (hun glaze, and blue is a mysterious colour. It also evokes a feeling of the
environment up here - the mountains, the mists and the snow," he says.
Rushforth wrote about this connedion for an exhibition in 1988: "While Chun-blue glazes can
be produced in a variety of kilns, the pots in this exhibition have developed special qualities from
the manner in which they have been fired in a woodfired kiln ... in Shipley in the Blue Mountains. In
many ways the beautiful environment surrounding the workshop - the vistas of valleys, bushland and
mountain escarpments - is expressed in these pots, each one being a unique statement in form, glaze
and texture. "21 But those statements could never have been made had Rushforth not drawn together
the qualities of his materials and the beauty of his environment through the utterly human intervention
of his head, heart and hands.
Rushforth expeds to conduct his last firing at Le Var in 2012 .

Profile
1 Hood, Kenneth. Peter Rushforth RetrospectIVe E1dlibiflOn, National Gallefy of Viaoria, Melbourne 1985. p3
2 Ibid.
3 Menzies, Jackie, The Asian Interface, AUSfIalian Artists and the Far East. An Gallery of New South Wales 1983. Introductoo
4 Ibid.
S Hood. Kenneth. Peter Rushforth Retrospective Exhibition, National GalJery of Victoria, Melbourne 1985, p4
6 Rushforth. Peter, Pottery In Australia, Vol 6, No 1, May 1967
7 Ioannou. Noris. Potfery in Australia, '200 Years of Australian Clay Culture', Vol 27, No 2, May 1988, p72
8 Hood, Kenneth, Pottery in Australia. 'Canberra Exhibition' Vol I, No 2, 1962. p2
9 Rushforth. Peter, 'The Good Pot' , Poffffy in AU5tfJfia, Vol 18 No I, 1979 pp3-S
10 Hood. Kenneth, Peter Rushforth Relfospective Exhibifioo. National Gallery of Victoria, Melbourne 1985. pi 0
11 Ibid.
12 Hood, Kenneth, Peter Rushforth Retrospective EKhibition. National Gallery of Victoria, Melbourne 1985. p4
13 Rushforth. Peter, 'The Good Pot', Pottery in Austfdfia, Vol 18, No 1. 1979, p3
14 ibid
15 Ibid, p7
16 ,bKl. p4
17 Cochrane. Grace. lener 01 suppon for Peter Rushforth (pnor to hIS being awarded an Honorary Doctor of Fine Art, RMIT), held amongst Peter
Rushforth's private papers
18 McKay lan, 'Peter Rushforth. The Art of The Potter'. Pottery in AuS1/3h3, Vol 27. No I, feb 1988, p4
19 ibid
20 Rushforth, Pete/, 'The Good Pot'. Pottery in Australia, vol 18 Nol, 1979 pS
21 McKay lan, 'Peler Rushforth, The Art of The Patter'. Pottery in Australia, Vol 27, No I, feb 1988. p6
Photographer: Anthony Browell

Profile
PETER RUSH FORTH AM
1920 Born in Manly, Sydney
1939-1945 Served in the armed forces becoming a prisoner of war in Changi and in Burma.
1946--1949 Studied drawing, painting, sculpture and then pottery at RMIT, under the Commonwealth
Reconstruction training Scheme.
1946 A visit to Allan Lowe's Ferntree Gully pottery studio inspired him to pursue a life in pottery.
1949 Visited Melbourne potter Harold Hughan who had built the first studio pottery stoneware kiln in
Australia .
1950 Moved to Sydney and took up a position at East Sydney Technical College (ESTC), later becoming
the first full-time ceramics teacher.
1956 Founded the Potters' Society of Australia, together with Mollie Douglas, Ivan Englund and Ivan
McMeekin. Awarded a Diploma of Honour for work exhibited in the First World Congress of the
international Academy of Ceramics, Cannes.
1956--1961 President of the Potters' Society
1960 Under his guidance the first full-time ceramics course was offered at ESTC.
1962 Bernard Leach visited Australia .
1963 Appointed Head Teacher of Ceramics at EST(; spent five months in Japan.
1965 Exhibited in 10th International Exhibition of Ceramic Art, Smithsonian Institution, Washington .
1967 Travelled on a Churchill Fellowship to Europe and USA.
1969 Moved home and studio to Church Point.
1972 Senior Head Teacher of Ceramics, ESTC
1974 Exhibited at Faenza 's International Contemporary Ceramic Art Competition.
1975 Exhibited in Tokyo, the first solo show of Australian pottery to be shown in Japan.
1978 Retired from teaching at the National Art School and moved to Blackheath. Won the Warringah
Art Prize, Open Craft section. Heart, Head and Hand, a documentary of his life and work, was
directed by Peter Weir and produced by Craft Australia.
1985 Appointed to the Order of Australia (AM) for service to the ceramic arts, particularly pottery.
Retrospective exhibition at the National Gallery of Victoria
1993 Awarded an Australia Council Emeritus Fellowship
1997 50 years as a potter celebrated at The Powerhouse Museum
2003 Awarded a Fellowship of the National Art School
2010 Awarded an Honorary Doctorate of Fine Art, RMIT. A documentary of his life, Playing with Clay
- the Art and Life of Peter Rushforth was made by Christina Wilcox.

Margaret Tuckson's note on the back of the photo: "Sepik Province. meeting of happy potters - we had just discovered that we
both made potsl photo: Ron and Patricia, MayIJune 1972"
The Intrepid Margaret Tuckson
Margaret Tuckson has stories by the dozen, by the hundred. At ninety years of age she can look back
on a life into which she has crammed enough for several lives. Only last year she finally, reluctantly,
handed over her five pottery wheels and two kilns to a neighbour when she moved from her home in
Wahroonga, Sydney. This much loved house, built for her and her late husband Tony Tuckson in 1961 by
architect Russell Jack had, as Margaret firmly requested, a pottery studio for her.
Margaret moved away because, she says, it was being 'Sensible' - here she draws a big '5' in the
air. There was too great a threat of bushfire, so now she has installed herself in a pleasant cottage in
Chatswood filled with paintings, sculptures and pots, so many pots.
But this is not an opening Margaret would choose. "Surely you'd want to know the beginning first?"
she says, gesturing with those long twiggy fingers.
So - 23rd of October 1921, born to Mr and Mrs Bisset of Gordon, a daughter, Dorothea Margaret
Bisset. Educated Abbotsleigh School for Girls, where she became acquainted with Mollie Douglas.
As a young girl, Margaret was fascinated by the large earthenware water pots which her parents had
acquired at Port Said on their shipboard passage from England to Australia. She wanted to know how
people made those pots and where they came from. By the time Margaret was half way through school,
her curiosity had formed itself into a resolve to become a potter when, as she says, "It was pretty rare
for people to talk or even think about pots."
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 41

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lett: Margaret Tuckson, earthenware
Photo: Geoff Hawkshaw
Pottery in Australia, Vol 6, No 2, 1967
Below left: Margaret Tuckson
earthenware rolling pots
Photo: Geoff Hawkshaw
Pottery in Australia, VoIS, No 2, 1969
East Sydney Technical College
(ESTC) ran an art and design
course which included pottery.
After two years of formal arts
training, she could choose pottery
as a craft elective. However, with a
great demand for pottery classes,
students were divided into two
groups, with one sent off to work
with clay and the other to a lecture
on molecular glaze formulae.
Margaret, whose maths skills were
not too strong, was in the second
group. Frustrated by her struggle
with maths, Margaret swapped
to weaving until soon after the
outbreak of war when, as she says,
"We all had to do something."
It was off to work in a munitions
factory in Wahroonga.
At her 21 st birthday party, Margaret met Tony Tuckson, an English Spitfire pilot posted in Australia.
Tony had studied painting before the war and he and Margaret got straight into discussing art. Jn
1943, they married and in 1945, their son Michael was born. Posted back to England, Tony, after some
months, wangled a posting back to Australia. They built a house at East Gordon with a studio for
Tony who recommenced his art studies and supported his small family by teaching art, gardening, and
as attendant at the Art Gallery of NSW (AGNSW). He was appointed Deputy Director of AGNSW in
1957 and earned a reputation as an outstanding abstract expressionist painter. On Tony's suggestion,
Margaret returned to ESTC to complete her ceramics education, studying part-time with Mollie Douglas
and then Peter Rushforth from 1948-1952. After finishing her studies, but without a studio of her own,
Margaret was invited by Wanda Garnsey to help her in her newly established pottery at Turramurra, and
did some potting there.
The Potters' Society of NSW (later, of Australia, now The Australian Ceramics Association) was set up
in 1954 and Margaret and Wanda Garnsey joined at the same time that year. As a member to this da y,
42 THE JOURNAL Of AUSTRALIAN CERAMICS APRIL 2012

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Margaret exhibited in the society's
group exhibitions from 1958, was an
active committee member and Hon.
Sec. and contributed to Pottery in
Australia (PIA), both with articles on
her research and many travels, and
helping Garnsey with the journal.
In the meantime, another related
interest arose that was to take her life
in a new and unexpected direction. In
1949, Tony Tuckson saw an exhibition
of Aboriginal art from Arnhem Land
collected by Ronald and Catherine
Berndt. social anthropologists. He
was overwhelmed by what he saw.
When in 1958 he and Margaret
were invited by Dr Stuart Scougall to
accompany him to Melville Island, they
immediately agreed. Tony started a
collection of Aboriginal art for the Art
Gallery of NSW. Through Tuckson and
Scougall, the AGNSW commissioned a
set of grave posts to be made by the
artists of the small Tiwi community
at Milikapiti. Margaret took it upon
herself to photograph every stage
of the making of the grave posts.
As Margaret says, "I consider myself
extremely lucky landing in on all that."
As the Tucksons' interest in
lindigenous art grew, Tony arranged Photos from Margaret Tuckson's archive
a trip to Papua New Guinea in 1965,
collecting for the AGNSW, and
Margaret accompanied him. "Wanda said, 'Right, OK, take your camera and your notebook and do an
article when you come back.' And I said, 'I couldn't, I haven't ever written anything.' and she said, 'Yes,
you could!' And she bullied me, quite rightly." When Margaret returned, she wrote the article illustrated
with her own photographs, drawing not only on her own experience but also on considerable text
research and information from Christian Kauffmann, a Swiss anthropologist.
Through Tony, Margaret met Patricia May, an art historian. Margaret showed her the PIA article she
had written and May was very interested. "She said, 'You and I should do a book together.' ...
I said 'Fantastic!' She's from (an academic background) and ... 1 was the potter so it was a very good
combination in the end." In all, Margaret was to visit Papua New Guinea ten times, mostly accompanied
by May, sometimes by others, but always her notes were sent to May.
Malina Monks, a good friend who once accompanied Margaret to PNG recalls, " What research she
did! Miles of correspondence with administrators, with missions, to find out who was making where
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and what kind of things they were making and where she could get a boat maybe to take her ... she
did all of her own photography ..., she watched and took in the tiniest details of how they were doing
something." In addition, in 1967 Margaret researched Melanesian pottery in many museums in Europe
and the USA.
She received " great help and encouragement and understanding" from village headmen, villagers and
potters. She remembers a couple of young village men saying to her, "This is very good that you are
writing all this down, because it will go away." Sadly, this was to be the case, with many of the village
pottery industries they recorded disappearing.
Margaret Tuckson and Patricia May received well-deserved international and lasting recognition for
their comprehensive, thorough and well-illustrated book The Traditional Pottery of Papua New
Guinea (May and Tuckson 1982). Margaret gave talks and papers on her research into PNG pottery
in the USA, England, Norvvay and Denmark and to many students in Austra lia . In 2004, Margaret was
awarded Membership of the Order of Australia both for her promotion of abstract expressionist art and
her research and collection of Indigenous art and Papua New Guinea ceramic art.
From 1962 she taught students privately at her new pottery in Wahroonga. Barbara Taggart, one of
Margaret's students from the 70s says, "She was a very, very good teacher. We learnt on kickwheels ...
we only did earthenware; we also learned to fire the small wood kiln, which we loved. Simple glazes,
borax glazes. Nothing too fancy or expensive. There was a big barrel for recycled clay which we called
'Old Smelly'. She recycled everything. There was no waste with Margaret, ever. She'd get other potters
in ... Janet Mansfield (taught) us to put handles on mugs. "
In addition to teaching, making her own work - elegant and finely thrown domestic terra cotta
earthenware - working on the book, entertaining, attending exhibitions and conferences, playing
tennis, giving workshops, keeping up her social contacts including her longstanding friendship with
Gwyn Hanssen Pigott, parenting, being a committee member of the PSA, the Ceramics Study Group,
the Crafts Councils of NSW and Australia.and others - she always found time for something else she
Margaret Tuckson's collection; photos: Karen Weiss

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loved - to travel. Bill Samuels. who invited her on a three-week flying trip to the Kimberleys with himself
as pilot in the mid-90s. says " Margaret is the intrepid traveller ... rafting down the Franklin and off to
Easter Island."
Her travels are always adventures. Accompanied by Tony or friends. with notebook and camera. since
1965 she has travelled to PNG. through Europe and the UK. to the USA. Thailand. Sri Lanka and Laos.
She has criss-crossed Australia. especially the Top End. and at every place she has made new friends or
reconnected with former ones.
Margaret's generosity has seen much of her collection of ceramics and paintings find new homes
in public art collections. She has retained her favourites: the Ian Fairweather they once spent all their
money on, the PNG pots, a Malina Monks ceramic sculpture and. throughout her home. many of Tony's
paintings. Margaret Tuckson 's enthusiasm - for art and for life - is undiminished, w ith many more stories
to come.
My gratitude to Margaret Tuckson, Malina Monks. Judy Boydell, Renata de Lambert, Barbara Taggart
and Bill Samuels for sharing their reminiscences with me.
References:
Margaret Tuckson interview with K. Weiss 4,1.12
Renata de lambert interview with K.Weiss 25, 1.12
Malina Monks interview with K.Weiss 22.1 .12
Judy 80ydeU interview with K.Weiss 22 .1.12
Bill Samuels interview with K.Weiss 25.1.12
May, Palnda and Tuckson. Margaret, The Tradi rionaf Pottery of Papua New Guinea. 2000 University of Hawai'j Press, Honolulu
Tu(kson. M argaret, Pottery in New GUinea, PIA, vat 5, No 1, May 1966
Perkins, Hetti. 'A privileged moment: Retracing Tony Tuckson's pioneering journey north', Art & Australia Spring, 2009
Thomas, Daniel, 'Tuckson, John Anthony (192' -1973)', Australian Dictionary of Biography. Vol 16, 2002; Melbourne University Press
© Karen Weiss February 2012
Margaret in her Wahroonga home with her New Guinea pot collection

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The Active Life of Objects
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Anne Brennan considers recent work by Patsy Hely
Late in 2011 Patsy Hely made two small groups of hand painted cups and saucers entitled respectively
Island and Lake. When I first saw these works in an exhibition, I was enchanted by the way in which
they seemed to float, little self-contained worlds, on two small shelves on the gallery wall. The simple
cone-shaped cups seemed to drift in their generous saucers, made of green glass or blue powdercoated
aluminium. Little skerricks of land floated in a lake of watery blue on the painted surfaces of the
Island cups. The Lake cups, on the other hand, were painted with a palisade of tree trunks. These were
inverted on their saucers so that their bases (that part of a cup which is usually hidden) were visible,
making it possible to see how the painted surface had been extended over them, to depict a wreath of
scrubby vegetation encircling a patch of blue.
The landscapes depicted in these works seemed to be both generic and specific - the little
boomerangs of land afloat in their watery world could be at once any tiny atoll in the Pacific Ocean,
or one of the artificial islands in Lake Burley Griffin, in Patsy's home town of Canberra. There was
something about this shift between the universal and the particular that induced a sense of reverie
in me. I thought about all the islands and lakes I had visited in my life, and the definitions of them I
had learned in school: an island is a body of land surrounded by water, and a lake is a body of water
surrounded by land. There was something beautifully reciprocal about this relationship of containment,
I mused: the land cups the water, and the water cups land. If vessels are always about the idea of
containment, how appropriate that these cu ps and saucers should mimic this reciprocal embrace.
Some months later, I encountered the work again, this time on Patsy's kitchen bench. Amongst the
cups and saucers we'd used for our morning coffee, Lake and Island seemed to participate in a more
quotidian world, and I began to notice other kinds of things about them. Their handles, for instance:
refined, modified arabesques of slim porcelain, curving round like graceful commas, and joined to
the wall of the cup by a slender buttress of clay. The more I looked at them, the more I saw them as
somehow separate from the bowl of the cup itself. This is not to say that they looked out of place;
rather it was as though the handles were somehow deliberately distinguishing themselves from the body
of the cup, performing in fact an act of punctuation, of separation.
Looking at them made me think of the German an thropologist Georg Simmel's beautiful essay on
the handle. According to Simmel, works of art such as paintings operate differently in the world than
do utilitarian objects. The worlds depicted in an image are self-enclosed, only able to be looked at, he
argues. Utilitarian objects, on the other hand, interact with "everything that surges past or hovers about
[them]." Whilst a painting may be made of tangible materials-such as paint and canvas, the world it
depicts exists outside of, and independent from, the everyday world. The same applies to objects of
aesthetic value, such as vases and cups. However, Simmel argues, "reality also makes claims upon '" an
object that is handled, filled, emptied, proffered and set down here and there." It is in the handle of
a vessel, according to Simmel, that this duality is most clearly expressed. On the one hand, the handle
operates as a kind of bridge between the aesthetic world and that of the everyday. On the other, the
handle must also operate within the idealised realm of the aesthetic.
The handles on the Island and Lake cups are appropriated from commercially-produced porcelain
ware. Because of this, they look familiar. In them we read (perhaps without realising it), the
46 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

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unconsciously-accumulated memory of countless cups encountered over our lifetimes, all of those
moments when we have handled, looked at, sipped from, washed, dried and dropped these material
fellow-travellers of our lived experience. At the same time, they gesture towards Patsy's own interest
in the rich histories of ceramics. She frequently incorporates cast elements from other vessels, or even
found pieces of ceramics, into her work. This gives her a way to allude to the circulation of ceramic
objects through our lives and culture.
In the case of the cups in Island and Lake, the handles participate in a sort of aesthetic game.
The cups operate as a three-dimensional surface on which a painterly exploration of the relationship
between water and land is played out. Their curved surfaces lend another dimension to the worlds
represented upon them and create a punning analogy between the forms of islands and lakes and
the forms of cups and saucers. But it is the handles that complete this analogy, since they are the
quintessential sign of a teacup, with all of its references to the rituals and gestures of everyday life.
Our everyday worlds are not perfect, and the objects that populate our lives aren't always perfect
either. An inspection of most family cupboards would reveal a tale of mismatched china, of Spode
pieces sharing shelf space with a painted souvenir cup from a long-forgotten holiday. Patsy is interested
in the way in which objects accumulate in and inhabit our domestic lives, and often refers to this kind
of casual domestic mismatching in her work. The saucers she uses are sometimes made in another
material (glass or wood. for example) and their forms are often drawn from those of mass produced
ceramic ware. A characteristic flat, steep-walled saucer, used in Island and Lake and also in some works
produced for her exhibition To There and Back in Adelaide in 2010, for example, are based on a Susie
Cooper saucer in her own domestic collection.
Looking at these arrangements, I am reminded of Simmel's reference to the way in which everyday
life "surges around" objects, and how objects themselves move through space in the service of
our everyday needs. Patsy has alluded to this in the catalogue statement for To There and Back in
Adelaide, when she speaks of the way in which cups, jugs and saucers "signify action and movement
.. . They are objects that something is done with". She draws an analogy between this kind of action
and the movement entailed in travelling, with its concomitant activities of looking, thinking and
experiencing.
For this exhibition, she used as her starting point a series of visits she made to Adelaide in 2009 and
2010. The final works for the show depicted small vignettes drawn from photographs, postcards and
videos of Adelaide she found on the internet. The exhibition included a series of jugs painted with a
set of unremarkable scenes: a view from a window of Adelaide's new airport across a busy tarmac, a
skyline of modern city buildings - their gridded windows appearing slightly wobbly under the limitations
imposed by the medium of china paint.
But it was a pair of cups and saucers depicting the greenbelt parklands that surround Adelaide's CBO
to which I found myself returning. The handle of one, a wide shallow porcelain cylinder, was surprisingly
slender and richly covered in gold lustre, forming an unexpected contrast to the rather austere olive
greens of the landscape on the body of the cup. The other cup was identical to those used in the Island
Previous page (page 47): top: Island, 2011, porcelain, powder-coated aluminium saucer, each h.Scm, w.13cm
Below: Lake, 2011 porcelain, glass, each h.8cm, w.13.Scm. glass saucer by Nadege Desgenetez; photos: Brenton McGeachie
Opposite page, above: Adelaide VII . 2010, porcelain, h.lOcm, w.12cm, d.9cm
Opposite page, below: Adelaide VI (airport). 2010, porcelain. h.l6cm. w.8cm. d.5cm; photos: Michael Kluvanek
48 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

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THE JOURNAL OF AUSTRAliAN CERAMICS APRil 2012 49

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Opposite page: Jug (by the lake). 2010
porcelain. h.26.Scm, w. lOcm, d.7cm
Left : Vase with two scenes (Mt Madura). 2009
porcelain, h.2Scm, w. 17cm
Photos: Brenton McGeachie
and Lake series. its elegant comma-shaped
handle ornamented with a small lick of silver
lustre. Once again. I was struck by the way
in which the handles seem to articulate
themselves in relation to the body of the
cup, little punctuating gestures that make
us reconsider the relationship between the
painted surfaces of the cups and the material
and aesthetic worlds which they inhabit.
This use of second-hand imagery plays
with a series of conventions that allude to the souvenir. On the one hand, Patsy refers to the way in
which postcards and travel souvenirs borrow from and repeat already existing images of sites. And yet,
the images are not readily recognisable; they could be pictures drawn from any small Australian city.
Nevertheless. they are, in fact, images of particular places, and the recognition of a bu ilding or a specific
vista invests them with a particular kind of secret and pleasurable meaning.
This kind of tension between the generic and the particular is made even more complex by the fact
that the cups are slipcast (and therefore produced in multiples) and at the same time hand-painted
one-offs. Perhaps in this we can read an analogy for the ways in which the pleasures of travel, like the
pleasures of our everyday experiences, are both universal through being shared by many and specific to
ourselves alone.
More than this, however, in the gilded handles of these two cups, and in their hand-painted surfaces,
we might also read the way in which the value of the souvenir shifts over time. Looking at them, I
cannot help remembering how, in the 18th and 19th centuries, ceramic objects popularised knowledge
about unknown worlds. I am thinking particularly of the way in which images made by naturalists on
Cook's voyages were circulated through Britain and Europe in popular print form. versions of which were
also incorporated into ceramic souvenirs. There is a famous example of one of these, the Staffordshire
Kanguru and Tigar Mug, in the collection of the National Gallery of Australia. It is perhaps Patsy's
greatest skill that she can invest her work with these ever-widening circles of meaning and with such
small details as a handle make a bridge between the world of our lived experience and the long, rich
lives of objects.
Georg Simmel, 'Two Essays: The Handle and The Ruin', Hudson Review,
11:3 (1958: Autumn) 372-385 (translated by David Kettler).
Anne Brennan is an artist and writer. She is the Head of the Art Theory Workshop at the
ANU School of Art.
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 51

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..\ .. ..... "- . ~ ...
• • . ;'.. .~ r
• ~. . .. _ -.. WI ... L,
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thinkin2 abou\ drawings about
of)JeCtsClDout oOKlng
Tania Rollond
Photographer: Greg Piper
52 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

Looking at objects, and thinking about making objects,
J am thinking about
being human.
We humans who endlessly, endlessly, endlessly
make, unmake, name and consume with our hands and eyes and brains have filled our planet with
things.
And in this way we have created our world, a realm apart
from nature.
These artifacts are a language, each object a word.
As I acquire, order, rearrange and discard each thing in my life, I name and rename myself.
As I recognize myself in these objects, I shape my life and try to secure some part of my existence,
to find some objective confirmation of identity.
A tangible point of sameness and order to hold onto in the face of an ever-changing and indifferent
universe.
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 53

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But the objects are also shifting and changing in this world which never stops moving and we are all
caught up and swept along, and just when you think you understand something it slips away and you
realize that the world moves forward with or without you, it does not care for you . You realize that
you might only see the truth looking backwards, and though the world is filled with objects which
have been made by us, they are not us, they cannot speak the truth, they are part of the mystery of
being here and not knowing.

Each object has a name, it belongs to a category of forms which exist
in my mind.
As I look, I name and identify,
then act according to what is known in my mind, not what is sensed by my body.
Seeing is believing, right?
When I see I do not just look, I remember
and I fix my memories over the thing and I do not see it directly, I see what I expect, or what I am
able to comprehend.
I need only the slightest clue.
Language allows me to understand and it directs me, but there are moments when I break free and
see without language, without naming or knowing.
I am just experiencing.
I think this happens when I see an object without a name, without a meaning.
These things are not signs and I look at them
instead of looking through them to see what they say about us,
about our history, culture, or society.
An unidentifiable thing is a still point,
a direct experience.
And a direct experience feels rare
and precious,
so I go looking for these unnameable objects.
I search for them in the space between. The space which is made up of all the things we do not
know.
I break objects apart and rejoin them, I empty them of their content, create hollow outlines and
obscure shapes. I make them willfully unknowable.
I have become obsessed with things, possessed by them.
I draw them and make them, remake them and mark them, and I am hoping that these things will
speak of some essence. Of the mysterious state of the world which shimmers and is never fixed,
of truth which is relative, or provisional, and the feeling I have, which is
uncertainty.
THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012 55

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I am making invisible doubts visible, looking for something inside and trying to make a drawing of the
way it feels outside. Trying to make something which is not a representation of anything other than
the thing it is, that shifts between the actual, the pictorial, the physical and the abstract. Taking a line
and shaping a space, I am looking for things that cannot be located and I am listening, to see what
the material might say. My thinking is drawing. My making is thinking.
I am marking and making, trying to say something, but I don't really know what it is I have to say.
You might only see the truth when you are looking backwards. 50 what can I say?
Just, that I am
here
now.
Th is text is a kind of abbreviated poetic reworking and misremembering of my MFA research, completed
at COFA, UNSW in 2011. Original sources and properly referenced quotes can be found in my research
paper, available via the UNSW Library online.
All images from between objects and images, an exhibition of ceramics (with wire) and works on paper
made between 2008 and 2011, and exhibited at the COFAspace Gallery, and the National Art School
Project Space in Sydney, 2011 .
Photographer: Greg Piper; www.gregpiper.com.au
www.taniarollond.com.au
THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012 57

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Playing Loose
A conversation with Steve Wi lliams by Gail Nichols
Steve Williams
Opposite page, above: Steve Williams. Inside Out, 2012, wheelthrown, inverted cylinder, h.9cm, w.38cm
Opposite page, below: Steve Williams, Flatform, 200S, handbuilt, woodfired, 1320"C, diam.49cm; photos: Scott Calvin
Wandering through the National Woodfire Survey exhibition in Canberra in 2005, my attention was
drawn to a sculpture entitled Flatform that was dominated by a pierced, softly draped slab. It had a
playful sense of energy and spontaneity about it. I sensed a child-like inventiveness in the maker, who
clearly also understood the technical complexities of large-scale clay sculpture and the demands of
woodfiring. I wanted to learn more about this artist, Steve Williams. More recently, Steve exhibited in a
show I curated in Tasmania, and this led to some fruitful email discussions.
Steve Williams lives in Tuncurry, in northern New South Wales. His formal ceramics education took
place in Wagga (Riverina College of Advanced Education) and Melbourne (Caulfield Institute). As an
artist he has worked in various places, including a residency in Fuping, China, in 2007 and a Clayworks
residency in 2008. Originally trained as a secondary school teacher, Steve redirected his career into TAFE
teaching and freelance ceramic work, firstly in Wagga and later in northern NSW at Great Lakes TAFE.
He shares a wood kiln with Jann Kesby at Kempsey and fires three or four times a year.
Steve brings a childlike playfulness to his work, with the self-awareness of an experienced artist.
He moves freely between making sculpture and functional vessels and incorporates many non-clay
materials in his work. He is fascinated by 'Loose Parts', a concept developed by Simon Nicholson that
58 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

1 Inside Out, 2012, wheelthrown, cut and assembled
woodfired. h.6cm, w.13cm
2 Rip Plates, 2004, wheel thrown, altered, woodfired
1320·( , diam.23cm
3 Slash and Burn, 2005, wheelthown, woodfired 1320·(
bale hooks, diam.32cm
4 Platter, 2012, wheelthrown, altered, woodfired
Shino and cone glaze, diam.35cm
All work by Steve William s: photos: Scott Calvin
, .
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-
.:t....
,
.
~... -
has been applied to playground design and
childhood education. Nicholson maintains that
creativity is enhanced by access to materials that
can be moved and manipulated freely w ith no
2 specific directions. Examples include water, sand,
buckets, blocks, sticks and recycled materials.
It could be argued that artists are people who
maintain their ability to play with loose parts into
adulthood,. Steve has certainly managed that. He
says, "I have pondered long and hard on why we
as humans need to create with difference. The
loose parts theory of children and play has been
an important catalyst to help me appreciate why
play and invention are so important".
Steve favours directness and immediacy of
process in his work. " It has always been about
making 'in one sitting' ... this forces invention
and discovery for making, finding ways of
constructing and completing plastic clay forms.
Creating a foot element on thrown bowls by
moving clay with a stick or a stone, immediately
after throwing is one of my favourite things."
Is his aim the fired work, or is the process an
end in itself?
"The process is the most fun. Whilst I do enjoy
throwing and making utilitarian objects, I'm not
a repeat maker. I'm probably more of maker
in series . In the last few years I have become
increasingly interested in the use of found
objects from place and experiences. Woodfiring
remains the only way of bringing these loose
parts together in an unimposed way. There is a
looseness with wood firing that fits as the most
appropriate way to create 'synthetic rock'. "
Steve has an affinity with organic natural
processes of growth and change, and his work
speaks strongly of geological processes such
as erosion and eruption. " Geology suggests

Profile
Steve Williams, Flying
Machine (Coal Carriers)
2007, wheelthrown,
press-moulded, woodfired
1320"(, crates of coal
h.l00cm, w.8Ocm
Photo: artist
constant change. 'Geological' also suggests an association with a particular place and I have always
sought out materials from place. That could be the sieved aggregate from a local red clay in Wagga.
The red clay would be over-fired at high temperature, so adding the aggregate to a fireclay/porcelain
body added place, life and history to the body that created fired eruptions. The digging of red clay for
aggregate led to digging up objeds (bale hooks, bottles etc.) which led to the work Slash and Burn.
Local materials could also be fireclay from Bunnings hardware, or a source of clay in a coastal sand
environment. "
The loose parts approach enables Steve to relate easily to place and to adapt to various working
environments. The world is his playground and he finds joy in working in it. Not limited specifically
to clay and ceramic processes, Steve seleds materials from his environment, then experiments with
combining and manipulating them. In Coal Carriers, a work he made during the Fuping residency,
ceramic flying machines are exhibited on crates of coal. "They were an amalgam response to travelling
to an amazing country, not being able to see the sky and having trouble breathing, largely because of
the Australian coal being burnt to provide energy."
Plasticity of materials is highly significant to Steve's work. "Many materials can take deformation
without fradure (definition of plasticity) but with non-clay materials, say, metal or wood, it generally
takes more than just the human hand to deform. Clay can deform and transfer a fingerprint ... how
cool is that? (lay's ease of deformation is probably the quality that gives it such appeal. When the water
evaporates from the plastic clay, you have to add or take away to create form. I have never been an
adder or taker away. That would suggest a much longer script, and control ", not such a loose part.
When clay dries out, it is not nearly as responsive and playful",
When working with non-clay materials, Steve continues to exploit properties of plasticity. The wall
piece, Landfill, exhitiited in the Atmos-Fire exhibition at Woodfire Tasmania 2011, was made from
wheelthrown woodfired porcelain and empty plastic milk bottles, deformed and fused together with a
heat gun, This was part of a series of works inspired by a visit to a local recycling centre, "I was moved
by the compression of containers (vessels) whether steel, aluminium, cardboard or plastic, into large
bales for reprocessing (mostly in (hina), As a vessel maker I began to think about the users of these
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 61

1 Buttress, 2010, assembled metal can bales, h.2SOcm
2 Landfill, 20 II, porcelain, wheelthrown, woodfired 1320"(, heat-fused plastic, h.1 OOem, w.l00em, d.1 Oem
3 Down the Drain, 2010, compressed plastic milk bottles. endangered lillpiHi, starch stencil, h.180cm, w.400cm
All work: by Steve Williams; photos: Scott Calvin
62 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

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non-clay vessels. The texture of these bales changed as the holidaying population moved in and out of
the area." Buttress was made from bales of compressed cans placed in opposing positions inside and
outside a floor-to-ceiling window of the Art School Gallery at Great Lakes TAFE. In another installation,
Endangered, an endangered Lillipilli grew out of a 400 kg bale of compressed plastic bottles. A bottle
shadow was stencilled onto the floor using flour and water. The materials used in these installations
were on loan and were later returned to the recycling centre.
"Clay's pyroplasticity is another element. or loose part, in the equation. I encourage pyroplasticity
within the kiln by orchestrating the clay body, packing and heat work. Packing and firing is a large
component of the process. I will sometimes fuse-melt clay elements together to create assemblages not
possible with raw clay."
Steve enjoys working in isolation, valuing the freedom this gives him to develop his own ideas. He
admits to deliberately avoiding contact with the ceramic world through publications, but he enjoys
direct contact with other potters and their work. Steve cites Chester Nealie as an important influence,
due to his contagious spirit, knowledge and humour. "Chester encouraged me to slow down, find the
natural and to be me." Other influences include Owen Rye for the depth and richness of his surfaces,
and architects Frank Gehry and Antoni Gaudi for the ref reshing oddness and informality in their work. "I
look at their work and ask, how did they get that through council? I'm glad they did."
An enthusiastic educator in ceramics within the broader context of art and design, Steve is particularly
excited by the Aboriginal design program he helped to found at Great Lakes TAFE (see Steve's article on
page 117 in this issue). Steve applies the loose parts concept in his teaching, encouraging students to
develop their personal creativity through direct experience and discovery. He is careful not to excessively
influence them with study of history and the work of others. "Whilst there is a role for historical
knowledge, an environment of 'unknown' must be established for new concepts. I try and establish
that creative isolation void for students. I really enjoy setting up first experiences for learners from which
ideas and personal direction come."
What is Steve working on at the moment?
"A number of things ... I am throwing forms that involve the inside thrown wall being presented
as the outer surface. The energy and quality of the cylinder's inside thrown wall, when turned out, is
slightly mysterious and quite lovely. I enjoy making wheelthrown objects that present foods - a kind of
a mixed media installation. The colours of tomatoes, zucchini, eggplants (homegrown) look amazing on
the woodfired surface. I am also working on assemblages of wheelthrown vessels for dips and biscuits.
These developed as a design requirement to be able to transport dip, nibbles and biscuits to friend's
place in a crate on our pushbikes. The inside thrown wall is exposed, giving light to, and liberating, the
hidden wheel-thrown wall. I would love to do a project where ceramic objects were made in response to
and for food presentation as part of a banquet."
A banquet of loose parts. The play continues.
Dr Gail Nichols is recognised internationally for her innovative work with soda vapour glazing.
She lives and works at Mongarlowe, near Braidwood in NSW,
www.stevewilliams3d.net
See pages 117- 120 for Steve Williams' article about the Aboriginal Ceramic Design Program at
Great lakes TAFE Art and Design School in Tuncurry NSW.
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 63

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Beavering Away in the
Mountains
Christopher Sanders reviews the work of Susie MCMeekin
Susie McMeekin makes beautiful pots in her Blue Mountains studio, two hours
from Sydney. Her recent exhibition at the East West Gallery in Melbourne
comprised a selection of finely thrown bowls, vases, plates and jugs, glazed and
reduction-fired with finishes inspired by classic Chinese glazes. Whilst selected
plates had delicate surface markings and a jar a finely altered fluted rim, overall
it was an exhibition concerned with subtle functional form, surface texture and
glaze colour.
McMeekin makes her own clay and glazes. She is what might be termed a 'traditional potter',
even an 'old-fashioned' potter. This is no su rprise since she was apprenticed to her potter father, Ivan
McMeekin, and her practice imbued with the values he placed upon the classic wares from China 's Song
Dynasty. The best of the Song Dynasty originals have a patrician and enduring elegance that reflect
the context of the 12th century Song courts. McMeekin feels that the appeal of her work lies in its
simplicity. Th is may be so, but is it is a simpliCity born from a sophisticated synthesis of a past material
and visual aesthetic within the context of contemporary Australia.
Susie did not enjoy a natural career path into studio pottery, and it was not until the late seventies
that she began assisting her father who was suffering from a major illness at the time. After initial
throwing lessons, Susie recalls that she" ... was hooked in about two days ". She and her father "got
on very well together and he understood me and how to teach me".' Susie McMeekin also found the
solitary nature of running a pottery suited her. She rel ished her apprenticeship recalling that it was
framed by "a very gentle work regime ... tailored to his illness and energy levels". Susie MCMeekin
has continued to work at her own pace, avoiding stress and rush and allowing space for the ongoing
evolution of her distinct take on Chinese ceramics.
Yet it is here that perhaps a great irony lies: the current Chinese potter cares little about the
individuality of a piece, whereas the Australian studio potter places high value upon it. While
contemporary Chinese domestic ware makers are very skilled, the vast majority are piecework artisans
who do not handle their pots from beginning to end. Many of the glazes in contemporary Chinese
workshops are bought 'off the rack',2 whereas Susie McMeekin continues to follow her father's path,
sourcing and testing local materials, raw dipping glazes and allowing the fly ash from woodfiring to
create the special variations that distinguish her best exhibition works.
Opposite page, above: Celadon Lidded Jar, 2011, white stoneware, local granite celadon glaze, h.21em
Below: Copper Red Rice Bowl, 20,', Southern Ice, h.7em, w.13em
80th works by Susie McMeekin, wheelthrown, redudion gas·fired; photos: Christopher Sanders
64 THE JOURNAL Of AUSTRALIAN CERAMICS APRIL 2012

1 Chun Woodfired Bowl, 2009, Gulgong stoneovvare, wheelthrown, fired in the very back of
Janet Mansfield's racer kiln, h.8cm, w.2Ocm
2 Celadon Plate, 20 11, white stoneware, local granite celadon glaze. fluted walls. scratch decoration, reduction gas-fired
diam.20.Scm
3 Woodfired Tenmoku Cylinder, 1999, Gulgong stoneware, very high-fired in Peter Rushforth's wood kiln, h.2Ocm
All works by SU5ie MCMeekin; photos: Christopher Sanders
66 THE JOURNAL OF AUSTRALIAN CERAM ICS APRil 2 012

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Susie's father espoused elements of the philosophies of the influential pre-war British potters
Michael Cardew and Bernard Leach who, in their differing ways, were immersed in ceramic traditions
oppositional to those of industrial Britain.l Ivan McMeekin felt that pottery and the act of making is
"a tactile and visual art, and (that) it plays a very intimate part in our everyday lives" .4 In this sense, he
shared Cardew and Leach's resentment of the industrially standardised materials potters were forced to
use, either through lack of knowledge or other alternatives. Unlike most contemporary ceramicists, Susie
continues to make her clay from "three different Gulgong clays (which give it) .. . good green strength
(and allow it to) fire to a good colour" . With the modesty typical of potters, she characterises her testing
of rock dusts for glazes as " ... beavering away at making celadons".
It is the development of an understanding of materials and processes in an evolutionary manner that
gives strength to the work of the dedicated 'artist potter'. Ivan McMeekin used this term,S one which
was popular during the sixties and seventies. In practice, it means that the best works are reserved
for exhibition while a small production line might support the cash flow of the enterprise. The reality
of being an artist potter means controlling design of the ware, selecting and using raw materials and
controlling the firing, whilst also managing all other aspects of the business. The steps in these processes
are not totally pre-determined and instead contribute to a range of potential rather than absolutely
determined results. The final editing, or selection, forms the basis of exh ibition work.
Reduction or 'smoked' firing is the key to most oriental glazing. Susie observes her father's strict rules:
no visitors, no pots from others and no alcohol I Susie loves woodfiring and its capacity to bring further
variation to the reduction process and she sees the results as sometimes so superior to gas that she
feels almost reduced to tears. At present her woodfired works are fired elsewhere as, domestically, the
woodfired kiln is impractical, but plans are in progress to change this. In her own studio she uses gas for
stricter control of specif ic glazes such as the copper reds, allowing her to bring out their wonderiul rich
colouring and suriace variations.
McMeekin remains steadfast in her aesthetic, but she sometimes feels the weight of having managed
a small one-person business over the past three decades. Marjorie Ho at East West Gallery provided an
excellent space for McMeekin's subtle and special show. McMeekin's pieces are articulate and confident,
yet an inherent humility lies within each. They express their lineage and a sense of continuity, and they
bear an innate dignity as they emerge from the McMeekin kilns and studio into the hands of Australian
collectors.
1 Christopher Sanders. questIonnaire response from Susie McMeekin, January 2012
2 As observed in 2005 by author on trip to JlOgdezhen. Jianxi province
3 Bernard leach. A Porter's Book, Britain, 1940; Michael Cardew, Pioneer Pottery, Britain, 1969. l each was greatly influenced by Japanese aesthetics
but saw the Song Dynasty Chinese as exemplar s. Cardew was interested in the traditions of Nigerian pottery but shared leach's interest in using
local materials.
4 Ivan McMeekin. Notes for Potters in Australia, NSW Umversity Press, 1978, page 2
5 Ibid. McMeekin, tvan, pag£' 3
Ceramics by Susie McMeekin, NovemberfDecember 2011 ; www.eastwestart.com.au
www.susiemcmeekin.com
http://christophersanders,zenfolio.com
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 67

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Elaine Bradley in her East Fremantle studio, WA; photo: Emmet Sheil
Right: Elaine Bradley, Nest (Curves), front, Craft ACT CruCible Showcase, Harvest, 2011 ; photo: Creative Image Photography
Making it fit
Elaine Bradley reflects on family, study and her ceramic practice
It is a funny thing, when someone asks how you got into your line of work, you look back at your
path, and the signs are so obvious in retrospect, As a child in Dublin it delighted me when my father
encouraged my drawings, especially when I was rewarded with grown-up drawing materials from his
company's drawing office. At five, Mum taught me to knit and a pal taught me crochet, every girl
taught others. I learnt to sew and embroider in primary school too. In high school as well as the usual
stuff and Latin, I learnt to dressmake, cook Irish Stew, bake suet pudding and, 'Ahem', to 'lay a tray for
one's husband' for when the poor darling man came in from work. We rolled our eyes and took the
home ec. teacher to task for her outdated point of view.
Dad travelled often on business to Germany, Austria, and Czechoslovakia, bringing home loot
of sophisticated chocolate and toys and divine high-end glass or ceramic objects for the suburban
mantelpiece. Dad and I shared an eye for design. On family holidays, I observed my aunt's china
collection, seventeen bone china dinner services received as wedding gifts, displayed in a cabinet
the National Museum in Dublin would have appreciated. On the mantle and dresser were a range of
Wedgwood jasperware bowls, boxes, vases and vessels of unknown purpose. Who knew you were
supposed to keep your cotton wool balls on a dresser in a china cookie jar? My Ma kept hers in a plastic
68 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

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Nest with Two Brown Eggs, detail, thrown double-walled
Clayworks TMK, iron oxide decals, Cone 9 oxidation
All works by Elaine Bradley
Wh ite and Amber. detail, thrown double-walled, Southern
Ice, iron oxide decals, Cone 9 oxidation
Photos: Eva Fernandez
bag. The important questions no adult could answer were - why were the Wedgwood boxes blue,
inside and out; why were they matt and not smooth and glossy like china cups; and why were the
German beer steins all grey and pitted looking yet they were made of clay too?
In secondary school, sculptor Colm Brennan asked which non-drawing materials we'd explored . He
was genuinely interested when I mentioned embroidery; I could do my art exam in thread - he was
encouraging me to break new ground. Sorted! When Colm hauled out a bag of clay, asking who
wanted to try that - my heart sank so profoundly I felt sick; I'd missed my first opportunity with clay.
Years on, I tried an evening pottery class in an old stables yard behind Trinity College, Dublin. I reca ll
an enormous handbuilt kickwheel in the studio, ra rely used, as few giants ever signed up for the class.
The tutor failed to explain that working w ith soft clay is a lot easier on a wheel than struggling with the
lumpy cold hard stuff she made available - I'm still miffed about that. Walking to the bus stop to go
home at night I was often propositioned by men in cars mistaking me for the 'ladies of the night' who
patrolled that area, this despite being dressed in my most unsexy insurance company uniform. Realising
how dodgy the area was, I had to give clay a miss. Romance saw me moving to London at 22 and
starting a pottery course that required me to take an A-Level exam after two years. I had no intention
of doing the exam but the syllabus went beyond handbuilding skills and dunking stuff in buckets of
glaze. We covered ceramic history, contemporary artists, gallery and studio visits and a wide range of
techniques. A young Takeshi Yasuda did a demo for our class, as did Magdalene Odundo and Mary
Wandrausch. Our teacher made clay seem like there was nothing more interesting. I got an A!
An unfulfilling career in corporate London and the support of my partner Henry led me to decide
to apply for the highly regarded ceramics course at Harrow School of Art, but then marriage and
emigration became part of the equation and, instead, I found myself in Perth, WA enrolling in the
Claremont School of Art (TAFE) to study ceramics . I knew I wanted to be a studio potter, but in TAFE
they wanted me to make lots of mugs and casserole dishes. The arrival of the first of our sons put the
plans on hold and family life took over. Many years and housemoves later I found myself clearing out
a shed where I found my wheel and tools. Clay seemed so far on the backburner I despaired I'd never
touch it again. I decided to sel l my wheel, but immediately that heartsick lurching feeling hit and I knew
- I just couldn't ! The youngest was in school, it was time to reclaim ME. I found my way to the ANU
70 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

Elaine Bradley, Nest with Two Little White Eggs, detail, thrown double-walled Clayworks TMK, iron oxide decals, Cone 9
oxidation; photo: Eva Fernandez
Distance Diploma course, thanks to Sandra Black who had taught there. She was so supportive of my
need to find a way to take up ceramics again and fit it around my family.
In WA there are no options to study ceramics at tertiary level, full time. The ceramics community is
cohesive and inclusive of those interested in learning and making. Most of my colleagues are involved
with further education in some form and CAAWA (Ceramic Arts Association of WA) is especially
active in promoting ceramics and the interests of makers culturally and socially. I count among my
acquaintances Sandra Black, Fleur Schell, Cher Shackleton, Stewart and Trisha Scambler, Andrea
Vinkovic, Greg Crowe and Graham Hay, to name a few - every one of whom has been supportive in
some way to my path .
The ANU course has morphed into something greater run by Janet deBoos with Greg Daly, Dr Gail
Nichols, Anita Mcintyre, Joanna Searle and Patsy Hely on the staff. The experience there was pivotal
in giving me the confidence to call myself an artist and to find my voice. Paul Scott taught print on
clay techniques at my first session at ANU, where Janet identified that I am process driven and derive
as much satisfaction from the discovery aspect as the finished product. I find it useful developmentally
to work in a series, but not exclusively. I have two small studios, one at home and one in Fremantle
through ArtSource WA.
My recent work stems from my graduating work, nest forms in thrown porcelain, hollow doublewalled
pillowy bowls with iron oxide decals from my own photographs strewn across the surface
to convey ... convey what? To me this work reflects what home and family means, the security or
otherwise of a place where you belong, the embrace or suffocation, the tenuousness or frailty of where
you find yourself. My childhood was idyllic in ways, yet precarious due to our mother'S chronic poor
health. We often buckled under the strain. My current role gets that way too sometimes. Indirectly I put
together contrasting and conflicting images to illustrate the instability we lived with. You can take the
results as purely decorative - that's ok too. Erosion and decomposition will be key in the next phase of
this series.
http://elainebradley,blogspot,com.au
THE 10URNAL OF AUSTRALIAN CERAMICS APRil 2012 71

Profile
Making Space
Stephanie Outridge Field on Andrew Bryant
Throwing focuses on the transition of clay to form in a series of concentric thrusts created through the
counterbalance of the maker push ing into the centre and the centrifugal force that is being harnessed
manipulating the clay up and out.
The family of pots made on the wheel sha re some characteristics, but not many. As a family it contains vessels
retain ing free throwing marks and vessels where all traces of the hand have been effaced, pots thrown quickly and
painstakingly made pots. Overtly functional pots and covertly metaphorical ones are all made on the wheel. These
are well established methods and principles; what is new is the sense of the reinvigoration of an ancient technique:
an investigation into the dynamic pulse of thrown clay. 1
Andrew uses throwing as his technique and the wheel as his tool. Andrew explores and constantly
reveals the skeletal structure that is inherent to the thrown vessel. He makes several sections, like
segments of an insect, which he joins immediately, creating columns with an internal pedestal that
spikes into the next segment. He makes two, and inverts the second to allow the internal spindles to sit
like opposing stalagmites and stalactites in a geological formation.
Then he deconstructs the vessel by slicing through the walls to reveal the relationship between
internal structure and external form, sometimes cutting one side only. At other times he cuts opposing
sides, allowing a clea r section to be viewed.
Throwing as a process is loaded with the potential to make mistakes. Andrew says, "I like mistakes; all
have informed my approach. Aesthetically, the physical attributes that are a mistake, in another context
create a new presence or way of looking at the thrown form and surface. It is through those mistakes
that I innovate and think laterally about the processes of wheel throwing. That keeps me excited and
fuels my work and my enthusiasm for it.
"When I look into my trigger points, they are all artists who have the visual Wow! factor as well.
Surrealistic ideas and Alan Peascod's innovations were an extremely important early influence. More
recently, Tony Cragg and Damien Hirst, amongst others, have influenced my way of making."
Su rrealism 2 is a cultural movement that began in the early 1920s and Surrealist works feature the
element of surprise, unexpected juxtapositions and non sequitur3; however, many Surrealist artists and
writers regard their work as an expression of the ph ilosophical movement, first and foremost, with the
works being an artefact. 'Artefact' is a description and concept that undeniably connects with Andrew's
work.
Many potters are intrigued by simple forms and clear construction, finding that there is a great subtlety to be
explored within these parameters. One of the pleasu res of these ceramics is that they seem to tell you how they
were made. 4
Andrew Bryant's works are layered and segmented and they tell you not only of the process but
also of the stresses and tensions of the struts and walls of the pot's structure. It seems apt to describe
Andrew's work as the residue (or residual) of the physical process of making: somehow the intense
physicality of the making and the brashness of his relationship with clay make the final work the residue
rather than the outcome.
Andrew uses Feeney's BRT, a gritty clay that he woodfires to stoneware. "Most people don't like
throwing with this clay but it is perfect because of its raw physical strength and it allows me to work
72 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

Profile
very quickly to capture the expression in the clay that I want It copes very well with the speed at which I
want to work to make these forms. I also use Blackwattle porcelain paperclay, to make the spiral forms.
"It is process-based work which resonates with the first mark you make on a wheel- the spiral of a
finger drawn through the clay - the most elemental of beginnings for all wheel throwing potters."
Andrew uses bats to support individual elements of the work prior to joining. He also uses a
blowtorch to hasten the drying, strengthening the elements in order to work at his preferred pace - fast
"It was the hypnotic spiral that first drew me in to the sensuality of wheel throwing. Whilst I
continue to be obsessed with figurative vessel forms, I am now deconstructing. I am still drawn to the
quintessential structure of throwing: the spiral, an iconic never-ending visual element It is a dynamic
and almost disturbing shape that is like energy unleashed."
The vase forms are like spiral shields, "backs against the wall", joined onto a central circular ring.
Andrew likes double meanings where the edges are blurred - work being a couple of things at the same
time, a sculpture or a vase.
"Conceptually, I am inspired by contemporary sculptors who get to the core of materials. I like the
approach and work of Tony Cragg, as he breaks things up."
Tony Cragg has commented, "Cutting up material, turning it round, changing the contours, the
surface and volumes time and time again. Watching as the changes accumulate, taking one far away
Previous page (page 73): Shadow of a Four-Dimensional Vase, 2011, BRT, woodfired, ogama; h.SOcm, w.17cm, d.12cm
Below: 1 Anatomy of a Vase in White, 2010, high-fired porcelain, white glaze, h.40cm, w.42cm, d.12cm
2 Anatomy of a Woodfired Vase, 2010, BRT, woodfired ogama, h.42cm, w.50cm, d.1Ocm
3 The Inner Self, 2010, BRT, high·fired. dark satin crawl glaze, h.5Scm; all work by Andrew Bryant; photos: Tony Webdale
74 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

Above: Andrew Bryant. Deconstructed Landscape, 2009
found local clay, woodfired, ogama, h.24cm, w.3Ocm, d.Scm
Photo: artist
Right: Andrew Bryant, The Spiral, 2010
high-fired, crater glaze, h.32cm, w. 32cm, d.l0cm
Photo: Tony Webdale
from the starting point, through passages
where one notices that the changes are not
just taking place in the material. "5 These
words seem incredibly apt when watching
Andrew work.
Andrew says, "This work I am doing now
makes clay forms look good to me - breaking
up the space, and in combination with a crater
glaze, it meshes to create a web of glaze
draping across the ribs. I do not want anything
extraneous - no handles, no preciousness. "
The forms made by artists are seldom the result
of groundless innovations, but result out of their
understanding of their existences, which in turn
can only reflect the knowledge, history and beliefs
of the artist's culture.6
I think this Tony Cragg quote speaks directly
of Andrew's work, which is redolent of all
his influences - the material, its history and
traditions, his teachers and his heroes, Also,
importantly, Andrew is a man and artist of his
time and culture.
1 Edmund De Waal
2 leader And,'e Breton was explicit in hIS a~ion that
SurrealISm was above all a revolutIOnary movement
3 Non sequitur is latin for * jt does not folklw. H It is most often
used as a noun to describe illogical statements.
4 Edmund De Waal
5 Tony Cragg, www.tony-cragg .com
6 Tony Cragg, www.tony-

Profile
The Evolving Practice
of Bruce Nuske
Stephen Bowers reviews a forty-year career in ceramics
It is appropriate in this anniversary issue of the Journal to devote some pages to profiles on
contemporary Australian ceramic artists whose work is both ingenious and original. Bruce Nuske is
such an artist.
Given the scope of what is acceptable to visual arts writing within Australian journals, it is not
su rprising that, like many of his ceramics peers, critical understanding and appreciation of Nuske's
contribution is relatively understated and fervour for his work is the preserve of a few knowledgeable
aficionados and polished collectors. Despite a career spanning more than forty years, he remains
something of an enigma.
Nuske was born on 29 August 1949 in McBride Hospital in Medindie of parents Johannes and Clytie,
both of whom were born in 1916. His father, of German descent, was a businessman with interests in
farming. His mother of English/German descent, had an upbringing deemed appropriate for a woman
of the times and possessed an independence and resourcefulness that was to stand her in good
stead when, following the death of her husband in a trucking accident in 1952, she took over sole
management of the family farm.
The third of four boys, Nuske lived initially on a farm near Cummins on the Eyre Peninsular before
moving to a sheep and cattle farm near Collie south of Perth in 1951 when his family re-Iocated to
concentrate on a family faming business.
The experience of growing up on a hardworking, successful rural holding, amid the rich full life of
the agricultural calendar and surrounded on all sides by practical farm scenes and rural prospects, gave
Nuske an enduring connection to the earth, to gardening and the self-sufficiency of rustic crafts.
His childhood experience remains the wellspring of his insight into botanical form and the lines and
rhythms of growth and change to be found in natural arrangement.
After the death of his father, his mother took on the task of raising the boys and running the farm.
Her resourcefulness and intrepidity in successfully facing this task left an indelible impression on Nuske
who remains devoted to her memory and inspired by her fortitude.
After completing high school at Concordia Lutheran College in Highgate in Adelaide, he took a year
off to return to the family home in WA. The following year, 1969, he decided to pursue his aptitude for
drawing and practical craft and enrolled in a four-year Diploma of Design - Ceramics at the SA School
of Art, then located in Stanley Street in North Adelaide.
It was a commonplace at the time for lecturers in art colleges to be artists in their own right. They
then trained their students (often by a kind of invisible osmosis) who in turn became lecturers who
propagated the cycle. Over time that model proved a dead end. Employment opportunities dried up as
76 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

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Above: Bruce Nuske, Teapots, 2009, wheelformed, porcelain, slip decoration
Below: Bruce Nuske, Ro to~Rococo, 2010, wheelformed, altered, porcelain, sprigged and coloured slip decoration
Photos: Grant Hancock.
THE JOURNAL OF AUSTRAliAN CERAMICS APRil 2012 77

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Right: Happily Ever After
2004, porcelain
Right below: Tea Wear /11
2005, porcelain
Opposite page, from lOP:
Green Teapot, 2007,
stoneware and porcelain
Tea Tree and Watering Can
2007, porcelain
Ant Hill Pepper and Salt
Trees, 2008, handbuilt
porcelain and stoneware
Water Sets, 2008, porcelain
Bowl, 2010, wheelformed and
altered ivory porcelain, white
slip decoration
All work by Bruce Nuske
Photos: Grant Hancock
enrolments fell and art colleges succumbed to rationalisation, the narrow goal posts of administration
and the de-skilling of conceptual art practice.
During Nuske's studies, the redoubtable Milton Moon taught ceramics and had instituted the Design
Diploma course where his ideas held sway. Though he did not subscribe to all of Moon's strictures, he
admired Moon's zesty convictions and survived the system, expanding his experiences by resorting to
firings using elaborate techniques of decoration and experimenting with forms and glazes that went
beyond approved limits of the Japanese/Leach tradition.
78 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

Inspired by double page colour style spreads discovered in
World Ceramics, Nuske's work from this period (1969-1972)
took stoneware production forms to new levels by the
dexterous addition of freely painted tendril patterns in copper,
iron and cobalt with occasional touches of onglaze lustre;
Nuske had discovered colour.
His aesthetic explorations were paralleled, independently
and slightly later, by art school students Mark Thompson
and Paul Greenaway, while Bronwyn Kemp became a friend
at a later date. Like Nuske they all showed an aptitude,
inventiveness and ability that outstripped the confines of their
courses and all went on to create rich bodies of significant
work.
In 1972, Nuske graduated and, on Moon's
recommendation, became a teacher of ceramics at the
Norwood Adult Education Centre. With its rhythms of annual
intake of students, regular workloads, generous holidays and
relatively well-equipped studios, Nuske found a niche and has
remained within the system ever since. In 1978, he obtained
a Diploma of Teaching from SA College of Advanced
Education fOllowed by a Bachelor of Applied Art & Design
from the University of South Australia in 2001 .
Nuske admits his employment within the TAFE system and
its creative resources has underpinned his productive life,
providing him with the freedom to concentrate on one-ofts,
commissions and exhibition pieces.
In 1974, he married Paula Bennett, a vivacious and
intelligent primary school teacher of Irish-Scottish descent. In
1976, they bought a house in St Peters near the JamFactory,
where, from 1980 to 1986, Nuske became a tenant, sharing
a studio with Thompson and Kemp. This period included
three years of leave-without-pay during which he was able
to devote himself to full time ceramics. This was a key
productive period for Nuske who increasingly won recognition
for his work, holding his first solo shows at JamFactory
and Distelfink (in Melbourne) and being included in several
important survey exhibitions.
As well as the development of sculptural and handbuilt
forms throughout this time, Nuske's functional thrown
vessels, plates, platters, vases and teapots continued to
develop intricate surface textures, inlays and brushwork
decoration. A keen gardener, Nuske's luxuriant backyard
and his collection of chooks, bantams and Asian pheasants
provided motifs for this period .

Profile
Bruce Nuske, Rococ%eD, 2010, wheelformed, altered, porcelain, sprigged and coloured slip decoration
Photo: Grant Hancock
Nuske cites the home, the backyard and domestic utility as important aspects of his practice, which
also includes a relentless addiction to drawing. The process of realising 3D forms from 2D drawings is
never literal however, allowing Nuske room to improvise, a freedom he carries through from the making
of the form to the final touches of decoration.
While he may work in series (his aridity pieces of 2005-2009 are a good example), Nuske is never one
to make predictable or repetitious production; his pitchers, dippers, jugs, bottles, beakers, bowls, cups
and teapots are all distinctively individual.
A concern with water - in some cases the lack of it - can be seen in many of his works. Through
skilled homage to water and its life giving properties, Nuske's vessels reflect on the universal need for
sustaining moisture. His series of water bowls exhibited in ##Table Ware##, an exhibition at JamFactory
in 2007, appeared bleached, skeletal, pinched and drained - holding precious little moisture - while his
crisp jugs, pitchers and dippers celebrated the ability to freely dispense fluids.
Whatever his theme, what motivates him (according to Nuske) is a desire to individually create
beautiful, balanced and well crafted pieces where the overall 'feel' or character of each pot is distinctive
and Singular.
Adelaide, particularly via the JamFactory, possesses a supportive and cohesive ceramics community
and through his involvement with this community, Nuske has enjoyed signal moments of recognition .
80 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

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Left and below:
khai liew I Bruce Nuske
collaboration as part of the
Collec +ors exhibition of works
Photos: Grant Hancock
These include being called on by leading contemporary furniture designer Khai Uew to create a vice
regal cipher tile for a suite of Uew's bedroom furniture designed for the residence of Governor General
Quentin Bryce, and being commissioned to make ceramic components for Uew's designs exhibited in
London in 2010, as well seeing his work exhibited at COLLECT at the Victoria and Albert Museum
where it was purchased by the Duke of Devonshire for his collection at Chatsworth.
His work can be found in collections around Australia including the Art Gallery of South Australia, Art
Gallery of Queensland, Art Gallery of Western Australia, the Powerhouse Museum, Geelong Regional
Gallery and the National Gallery of Victoria as well as many private collections.
Nuske's practice continues to evolve and today he is as busy as ever. In addition to his teaching work
in ceramics at Adelaide College of the Arts, his up-coming projects include a collaborative exhibition
with Khai Uew at the Samstag Museum at the University of SA, inclusion in a select group show at BMG
Gallery (Adelaide) and involvement in a survey exhibition of Skangaroovian Funk being developed by the
Art Gallery of South Australia in conjunction with the South Australian School of Art, all to coincide with
the 2012 Australian Ceramics Triennale in September.
Stephen Bowers is a Field Researcher with the Australasian Institute of Backyard Studies.
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 20'2 8,

Profile
Wreckage, Remnants and
What Remains
)0 Mcintyre Bornemissza writes about the work of Michael Stephan
Michael Stephan's ceramic structures invite consideration and contemplation.
Distinctive, unique, yet ambiguous, they are silent catalysts for the maker's own thoughts on life and
nature, as he is the catalyst through which they have come to be. Indeed, they may well be referred to
as 'Zen' creations, because of Stephan's selfless respect for nature and clay, his non-self-assertiveness
and non-craving acceptance of life. They are original, unselfconscious, abstract and intuitive expressions
using clay and fire.
Stephan has long been enthralled by landscapes in which once-thriving, productive industry has
fallen into decay and desolation; where the arrogance of Man's domination of nature has proven to be
foolish, the symbols of which lie in naked chimneys, crumbling walls and rusting machinery, or in the
devastation wrought by floods, conflagrations or earthquakes. Such actions concern him, while at the
same time he is in awe of the tenuous hold that exists between Man and Nature.
During his time monitoring boilers, Stephan also became fascinated with the effects of heat. steam
and pressure upon pipes and machinery. There, the palpable danger, the smell and sounds of expanding
metal, left indelible imprints upon him, aspects of which are now seen in his work.
Stephan lives under the shoulder of Hobart's iconic and imposing Mount Wellington with its mighty
dolerite outcrops, and works in a modest sparsely-appointed space under his house.
He describes his pieces as "happening in a moment", his actions being spontaneous, immediate,
intuitive and dependent upon his reflexes.
Using heavily grogged clay, he starts with a block into which he cuts downward, but not completely
through, with a coil of springy wire. The only conscious part of this initial process is the forming of
the slender cylinders, which represent chimneys, funnels or vents, that are shoved into or sandwiched
between separating slabs and pushed upwards. Sections, which threaten to detach, are jammed
together again without slip as Stephan's hands work hastily, infusing the finished pieces with pent-up
energy. Usually, parameters are "wide open" . However, in the conflict between control and spontaneity,
Stephan finds himself seized with uncertainty and anxiety.
Pieces of dowel or fingers are poked, plunged and pushed into the work creating holes which serve to
aerate and lighten the forms, while the inevitable stresses exerted in the drying process invest the pieces
with characteristic ruptures, tears, splits and cracks - a process of upheaval.
Periods ranging from a week to a month typify the drying process after which, usually on a Friday,
Oppo~te page: Michael Stephan, Compression, Chimney Series, 2011, woodfired RSF clay
high alumina dry Shino, h.29cm, w.21cm, d.12cm; photo: Peter Whyte Photographic
82 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

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Stephan drives 250 kilometres north to fellow potter Neil Hoffmann's property at Reedy Marsh, where
he loads a bourry box kiln that has a top loading chamber w ith the fire box on the side. He places
approximately twelve 'strudures' within the kiln, around which he packs fundional ware (mugs and
bottles) he has thrown from fine, white stoneware and high iron-bearing stoneware, which he glazes
with various Shinos. (He has yet to "make a good mug" and won't consider selling any until this
happens). The packing process takes about six hours.
Fallen timber, local hardwood and gum from the property is used as fuel and following pre-heating to
800"(, the kiln is left to "slow combust" (by completely filling the fire box and adjusting dampers until
redudion smoke clears) until early morning. Stephan is then able to take a welcome rest in readiness for
the next day and the final assault.
The long firing process, which takes up to sixty hours from packing to cooling, is one from which
Stephan feels detached and vulnerable. For Michael, fire is an awesome force and tool by which 'so
much happens'; it is intriguing and complicated. With this limited control, there is a need to be brave,
to 'let go: to allow his work to take on its own identity. Profound humility, perceived as strength, is
coupled with anxiety. He wonders if he is "chasing vulnerability", especially when entire kiln loads are
lost, as has occurred previously. His average success rate varies from 30-50%!
Yet, although some pieces may fall apart in his hands, the unpredidability of the entire process (the
deconstruding, maturing and ageing) is synonymous with life itself and exemplified by the aspeds over
which humans have little control - the Darwinian 'survival of the fittest: which appeals to Stephan.
Midtael Stephan, Detaching. Chimney Series, 2011, woodfired recycled and blended clays, Shino glaze
h.28cm, w.23cm, d.12cm; photos: Peter Whyte Photographic

Pro file
Often disheartened and uninspired by the homogenisation of the environment through formulaeridden,
insipid housing and franchises, which he feels leads to a certain loss, he embraces the converse
that occurs in the firing, for he finds that the 'stories' of his work, which he 'reads' anew, have
changed. He accepts the flaws, fractures, cracks, tears, scars, softening, fusing or healing that his work
undergoes, with interest and intrigue.
Detaching is an, imposing structure that alludes to factories or castles. It lists; its chimneys lean.
Sections have dragged apart, forming flange-like folds, which are enlivened by a warm, peach-coloured
sheen or viridescent edges. The upper ridges, bearing deposits of ash and other debris from the kiln, are
sharp and ragged or sensuously soft and smooth. Folds, fissures and faults intrigue and fascinate.
Compression, Vagrant Series, is a compact, single-chimney form with an angled extension that
suggests overflow. Glazed with a high alumina dry Shino, it is a warm terra cotta colour, suggesting
earthenware pipes or bricks. The stacked slabs of the body have drawn apart and cracked with tension
and heat. Ash has speckled a side of the chimney and one facet with greyish mottling, similar to birds'
eggs.
Chimney Form, Vagrant Series, derives from the idea of an object 'hanging around, without a
purpose, yet, at the same time, with a past.' Such objects 'hang around' in Stephan's mind causing him
to question why he creates such things and how they can possibly evolve from his imagination. The
answers elude him. This is a double-chimney form of which each facet or side displays different colours
and textures. One facet has inky blotches and spattering, punctuated by cracks and scribbled lines,
Michael Stephan, Quarried, 2011, RSF clay, Shino glaze, h.2Scm, w.20cm, d.ll cm; photos: Peter Whyte Photographic

Profile
86 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

Profile
a result of being close to the firebox and fired to Cone 12 (1320°C), while the opposing facet is of a
burnt umber hue on which darker indentations suggest Palaeolithic markings or weathering. Tears and
fusing are textured by ash. A third facet reveals a cavernous split whose gaping mouth is distorted and
lop-sided. The side view of a slab, which has been wrenched from its neighbour, imparts tenuousness,
while permitting a sliver of light to enter its mysterious interior. The fourth facet slopes dangerously and
is forced adrift to show the inner workings. Ash has caused greenish, glassy coagulations that run and
pool on jagged edges. The surface of the taller chimney is characterised by crawling and stripes of rust
and opaque grey.
Quarried is a softer, discreetly curved form, its single chimney set at a jaunty angle. The central
vents relate to vascular or respiratory systems while the holes suggest eyes, knots or other anatomical
phenomena. The rugged cavity in which the vents are held has been torn asunder by heat and natural
forces, edges buckling and crumpling, wound-like. The surface has an unctuous skin and bears subtle
milky greys, warm Shino tans and ash dappling, while light and air enter and escape through the central
opening, enabling the pot to 'breathe'.
Stephan believes that values, expectations and taste are challenged by good art. He does not wish to
conform to established or traditional criteria. Chance, intuition, humility, awe and the anticipation of the
unknown inspire his making.
His works are eloquent monuments, solidly grounded yet lightly reaching upwards, quietly inanimate
yet alluding to power and energy. They are mysterious, ambiguous abstractions, yet reflective of life.
They are strong, commanding but sensitive statements from the heart.
Jo Mcintyre Bornemissza, who lives in
Hobart, is a former art teacher, artist,
freelance writer and collector of ceramics.
M ichael Stephan
E: funstars@bigpond.com
Go to http://vimeo.com/4826053 to
view Glen Dunn interviewing Michael
Stephan on his life and work. This is one
of three 'stills-based' biographies that
accompanied the exhibition Working Fire,
Carnegie Gallery, Hobart, TAS.
Right: Michael Stephan, Compression
Chimney Series, 2011 . woodfired RSF clay
high alumina dry Shino. h.29an. w.21cm,
d.12cm; photo: Peler Whyte Photographic

Profile
Janet Beckhouse and the
Nature of Extravagance
by Inga Walton
In a pradice spanning some fifteen years, the distindive, opulent and occasionally unnerving works
of Janet Beckhouse have captivated viewers with their deft integration of florid rococ0 1 styling
and powerfully wrought naturalistic elements. The historical references to fanciful 18th century
ornamentation are tempered by the manner in which Beckhouse resists the sentimental or sanitised;
the lavish decoration never descends into kitsch. These sculptures beckon to us with their unabashed
pulchritude, yet there is something unsettling, macabre, and an almost sinister edge within the display
of delirious excess.
From a quasi-rural childhood in the Vidorian outer suburbs, Beckhouse was drawn to solitary pursuits
and a self-direded exploration of the environment, which was both empowering and escapist. "Family
holidays were always in the country, or by the sea. It always seemed comforting and real, in opposition
to the urban environment where I felt alone and alienated. I was a classic 'middle child' and I never
felt I fitted in or assimilated very well. I was a bit of a loner and didn't make friends easily. I felt more
comfortable amusing myself, and enjoyed being left to my own devices," she admits. To some extent
this formative expression of individualism and self-containment prepared Beckhouse for an artistic life,
during which she has singularly pursued her own, sometimes turbulent, vision. "I realise that I'll never fit
into the norms, but I'm also glad I've never had to conform in the way a lot people feel they must. The
'mainstream' doesn't offer much to me; so as long as I am fulfilling my vocation, being true to my own
heart, doing what is right for my soul and wellbeing, I'm satisfied."
Beckhouse initially pradised painting and drawing, and it was a desire to transform her imaginings
into three-dimensional forms that initially attraded her to clay as a medium. " I love its plastic qualities
and the tadility of it. I wanted to see a flower burst forth, or a branch twine, and a leaf brown and
curl. I wanted dimension and layers. The pierced pieces developed because of this. I wanted to see
through the work, to create secret places and hollows, a sense of wonderment." Beckhouse still applies
her glazes in a 'painterly' manner, building up layers slowly in consecutive firings to produce a luscious
look akin to preserved fruit, and resplendent with lustre. A profusion of beautifully rendered handbuilt
elements such as coral arms, tangles of vines and dense undergrowth, skulls, and a menagerie of exotic
creatures are applied, which coalesce with hybrid and human forms.
The allusions to charader and myth in many of the gravity-defying forms refled Beckhouse's
anthropological and cultural preoccupations. "At university I became completely enamoured with pre­
Columbian culture, particularly Mayan culture where human sacrifice was commonplace and considered
essential for making the sun rise and appeasing the gods. Despite these morbid pradices I was drawn to
the imagery and certain ceramic forms, censers and other ceremonial vessels - all heaVily embellished."
This compelling mergence of the grotesque with the exquisite also embraces a more funereal asped of
gothic flourishes and the Classical theme of memento mori, which came into its own as an aesthetic
Opposite page: Janet 8eckhouse, Holding It Together, 2010, stoneware, glaze, h.4Bcm, w.2Bcm; photo: Jeremy Dillon
88 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

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Janet Beckhouse
I Have To Defend Myself
2011 , stoneware, lustre
glaze, h.27em, w. l8cm
Phol0: Jeremy Dillon
genre within Christian art and architecture. "When I travelled to Greece and Italy in 1988, European
traditions also opened my eyes to what I thought were some bizarre practices at the time. In Kolindros,
the northern Greek village in which I stayed, the bones and skulls of the deceased were boxed and
stacked in crypts when the bodies had been exhumed after a period of time," Beckhouse relates. "In
Italy I saw elaborately adorned sarcophagi in the Vatican, and elsewhere sculptures and crypts containing
all manner of skeletal decoration - a poignant reminder of the fragility of the flesh; that life is for
existing and creating and not to be frittered away."
In recent years Beckhouse has been engaged in a Masters of Fine Art at Monash University, which has
led her to focus more on figurative elements. "It was a challenge I gave myself, and the figures sprang
from ideas of how I might express different feelings and emotions. They are not literal interpretations
90 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

Profile
Janet Beckhouse
The Guardians. 2009
stoneware. glaze
h.60cm, w.2Scm
Photo: Jeremy Dillon
as the figures are often distorted, or have li mbs that grow back into the earth, or conjoin with the
vegetation, expressing the desire to reconnect with the elements," she explains. "The works for Private
Gladiator 2 were particularly inspired by these musings, especially the mermaids. I was thinking about
the mercurial nature of these mythical beings, the freedom of the ocean, and what it might be like to
live in such a wild environment. Male and female figures convey distinct energies in my work. I want
them to be beautiful and enthralling, although some of the subject matter can be confronting or
disturbing. "
Beckhouse's forthcoming exh ibition, Dance of the Dissident Daughter, takes its title from her thesis,
and its inspiration from a renewed feeling of wholeness w ithin herself. " All the works are metaphors of
personal feelings and experiences as a woman, my re-connection w ith that. It is a liberated expression,
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 91

Profile
one I felt that was denied to me over a period of time. This is part of a symbolic act, as an artist and
as a person, of showing people who I am," she reflects. "The title is more broadly about the 'dance of
life', but also the experience of 'dancing to someone else's tune', the performance of being a person
you 're not, and how destructive that can be to personal integrity." There is a strong psychological aspect
and a pronounced erotic frisson to the new pieces, which bristle with a sense of unease, ambivalence,
and impending drama. "Some scenarios depict dire situations, but that is how my life has been, and
Dissident Daughter, part autobiographical, part fantastical dreaming, is all a part of who I am. There is
struggle, and a violent, tormented side, but also the sensual aspect of being a woman, which is a lovely
thing to reclaim and explore. I think that's maybe the point of art, to show your inside on the outside,
indulgent as it may seem to some, but a driving need for myself at this time in my life."
When Beckhouse retreats to her studio to ruminate on what extravagant and deliciously torrid tale
she can bring forth, it is as though she has returned to the quietude and internal narratives of her
youth . "Yes, my studio is my special personal space ... I'm very disciplined and persistent, often working
on two or three pieces at a time. The works have to be made slowly over a period of days to allow
the previous day's work to dry to 'leather hard' in order to support the new hand building. It is a finely
measured art form requiring great patience, and it also varies depending on my passion or fervour at the
time" . W ith an ambitious schedule to complete including new wall-mounted works and several large
compositions, Beckhouse's focus is necessarily relentless, " Life and creativity are all-encompassing, and
I could easily live a very reclusive life. But on the other hand, technical challenges such as a new clay
body, a new construction technique, different glaze ingredients, thinking about how I can make my
visions materialise and [finding] the time - I get so tired! " she exclaims. "I love this work and cannot
leave pieces, or feel at peace, until they are completed ... the joy for me is in the making, being lost
in the moment, absorbed by what I am doing. It contains both anxiety and meditation in the most
beautifully balanced way. Ceramic art is fragile yet strong; it encapsulates how I feel about our often
precarious existence, and the fragility of life in general. "
Janet Beckhouse is based in Collingwood, Victoria and can be contacted on 0406 114 706.
She exhibits with Skepsi Gallery, PO Box 1109, Glen Waverley, VIC 3150
www.skepsionswanston.com.au
Neon Pare, 1/53 Bourke Street, Melbourne, VIC 3000; www.neonparc.com.au
Dance of the Dissident Daughter, 18 May to 3 June 2012, will be at Malvern Artists' Society
Gallery, 1297-99 High Street, Malvern, VIC 3122; T: 03 9822 7813
www.malvernartists.org.au
Inga Walton is a Melbourne-based writer and arts consultant. Her previous contributions were
about Piers, 4th Lord Wedgwood of Barlaston and Gregory Bonasera respectively; JAC,
Issue 50/2, July 2011 .
1 derived from it combination of the french words IOcaille, meaning stone, and coquilfes, meaning shell, due to the prominence of these objects as
motifs of decoration within the aesthetic style. There is also the suggestion that it is perhaps it combination of thE' words rocai{fe
and barocco, an irregularly shaped pearl (possibly the source of the word 'baroque' as weiO.
2 exhibited with works by Andr~ Ethier at Neon Pare (28 September - 22 October, 2011 ).
Opposite page: Janet 8eckhouse, Siren - Come to Me. 2011, stoneware, lustre glaze, h.29cm, w .27cm, d.19cm
Collection: Newcastle Region Art Gallery. NSW; photo: Jeremy Dillon
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 93

Profile
Will you have salt with that?
John Dermer shares his thoughts about skills, problem solving and his passion
for ceramics
In 2006 I received Germany's Salzbrand Keramik Award for salt glazing. The faceted bowl I submitted
had a glaze surface that evolved from new directions I had taken as a result of a disastrous kiln blowout
some years previously. Learning from this failure became an opportunity and, in this case, it eventually
led to a beautiful curtain appearing in specific areas of the kiln pack. The curtain effect was both
exciting and intriguing with multiple colours, tones and textures emerging.
Recently, while endeavouring to solve a problem with a terra sigillata surface I had been using,
another breakthrough led me to a new palette and direction. I have been using terra sigillata for 25
years, both in its own right and also in the salt kiln. It can be extremely frustrating at times but my
perseverance has been rewarded with some real gems emerging from the salt kiln. Both processes have
caused me great pain and pleasure over the years. I am extremely passionate about both but the cost of
failures and new directions does take a heavy toll on emotions as well as the bank balance.
Reflecting upon why I embarked on the path of a potter 45 years ago, I realised that it was basically a
combination of two things. I had a fascination with the timelessness of this most ancient of crafts and a
deep admiration for the skill and integrity of a few special craftsmen of the time: Peter Rushforth, Buzz
Hughan and Reg Preston.
Below: John Dermer, terra sigillata. h.2lern, w.32cm
Opposite page: John Dermer, salt glazed, h.6O

Profile
Being a potter is not an easy or idyllic existence, and the hurdles have increased in height and number
over the years. The divisions within and across societies have deepened and we live in very troubling
times. But I still believe very strongly that it is the simple pleasures in life which sustain communities
and are most valued. It brings me peace of mind to create a mug, bowl, cooking pot, vase or exhibition
piece that can be admired, used confidently every day, and passed down through the generations of a
family. I enjoy the process; I accept the challenges; I still learn from my mistakes; I continue to push the
boundaries; and I take pride in the product and the feedback.
When I think about the things that have supported and sustained me in my career, I realise the
significance of two fundamental issues. I am a firm believer in the importance of traditions, together
with the acquisition of the skills that are necessary to continue them. Until the basic skills of a craft
are practised methodically and mastered it is difficult or nigh impossible to sustain a livelihood, to
understand the reasons for failures, to push the boundaries successfully in new directions or to adapt to
market demands.
Sadly, there has been a great decline, or almost total loss of skill-based training and education in
ceramics. It is disturbing to hear graduates from many different institutions lament the fact that they
have no experience of throwing. There is a great danger that, although some of these students may
have the drive and the initiative to seek out a mentor to redress this problem, a great deal of graduates
will be unable to produce work of a legitimate or sustainable nature. Could this be a contributing
factor in what appears to be the slow demise of this important branch of the Arts within its Australian
perspective? There are very few dedicated ceramic galleries surviving in the country and many of the
major galleries seem to overlook ceramics in their budget allocations.
Below: John Dermer, salt glazed, h.26cm
Below right: John Dermer, salt glazed, fire-box fired, h.22ern; (Warrnarnbool Art Gallery Collection); photos: artist
96 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

Profile
Australian ceramics has had a proud record over many generations. We need to ensure that this is not
lost but instead continues to be appreciated, valued and supported.
What we need into the future are pots born out of passion, made with the head, heart and hands. To
achieve this we need more individuals who have gained skills through systematic practice, observation,
mentoring, problem solving and a basic understanding of all the processes involved. These are the
essentials that motivated, nurtured and sustained the traditional practitioners of the craft, whose work
we admire and aspire towards.
We need to maintain an evolution of honest, legitimate, proud and often groundbreaking pots as a
legacy for future generations, and in order to secure a future for ceramics in our country.
I challenge the institutions and the students attending them to question the direction in which some
of the courses are heading. Are we providing a sustainable future for our craft?
John Dermer will hold his 35th major annual exhibition on 24 and 25 November 2012 at his
studio gallery in Yackandandah. The smaller annual Easter exhibition, his 33rd, will be held on
7, 8 and 9 April 2012, showcasing new tableware designs as well as exhibition pieces.
John Dermer is happy to be contacted personally.
T: 02 6027 1416; F: 02 6027 1798
Kirbys Flat Pottery, 225 Kirbys Flat Rd, Yackandandah VIC 3749
Gallery hours: 10.30am - 5pm every weekend and most Victorian school holidays or by
appointment
www.johndermer.com.au
John Dermer. detail, terra sigillata; photo: artist

Collection
The Bluestone Collection
A Melbourne tale by Robyn Phelan
The Bluestone Collection draws its name from the foundation stones of the city of Melbourne and
actively challenges the current status of collecting contemporary craft in Victoria by public institutions.
Throughout 2010, a small group of like-minded people gathered on the third Wednesday evening
of every month to thrash out what the collection might be. We reviewed the constitutions of similar
collections and spent many meetings defining our focus. Our vision for the collection is to promote
current Australian craft and exhibition practice, and foster dialogue. Unlike many private art collections,
the Bluestone Collection is not an investment portfolio.
The decision to undertake incorporation came after advice from an accountant and colleague.
Even though the 'model rules' is a nit-picky document, it did demand that we focus not only on
ph ilosophical, aesthetic and curatorial passions but also that we define practical policies such as financial
management, membership criteria, and winding up policy. This caused a substantial amount of exciting
discussion before we had even purchased our first work.
The Bluestone Collection's mission is to support contemporary craft practice and encourage a high
standard of exhibition work within Victoria. Our incorporation certificate arrived on 29 October 2010
and states our objective as:
• To develop knowledge of contemporary craft practice by actively examining and reviewing exhibition
practice in Victoria
• To acquire works on an annual basis by a rigorous selection process
• To create a lasting collection of contemporary craft exhibited in Victoria over a minimum of ten years

Collection
Our scope is that:
• The collection is to be drawn from Australian artists exhibiting in Victoria within the calendar year
that the acquisition is made.
• The collection is limited to only those artists who have current Australian residence.
Each month this pragmatic flow of conversation is interspersed with much debate about
contemporary craft: exhibitions we have seen, ones that we must view, the state of play in the sector,
our travels, and updating each other on our own progress. Evenings include many cups of tea and
homemade goodies served in a range of ceramic cups, teapots, plates and bowls that fuel creative
discussion. We keep a range of lists, minutes and rules etc. on Google Docs to enable access by the
committee.
Of interest to JAC readership may be our first acquisition: a ceramic sculptural piece by Sue Robey.
Robey had been identified as a promising artist for the collection and we were excited to purchase in a
very competitive environment from her solo exhibition Inhabit at Craft Victoria in March 2011 .
As I write, we are on summer break and will meet again in February with our current nine members.
We are in the midst of writing a media release to send to gallery directors and to promote our collection
in suitable arenas. Our next functional leap is to invite another four or five members to become a
'Stoner'. Meanwhile we wait in anticipation for a solo exhibition in early 20 12 of a very talented jeweller
whose work is widely appreciated by the committee. I can't wait.
Robyn Phelan makes sculptural ceramics, writes, and is passionate about contemporary craft.
www.robynphelan.com.au
Opposite page: Susan Robey, Splay. 2010. cera mic paperclay, coloured engobe, h.1Scm, w.16.5cm, d.8cm
Photo: Philip Smith
Below: Bluestone Collection members first meeting for 2012; left to right: Rosanna Caldwell. Sarah Edwards. Robyn Phelan (on
screen). Kevin Murray, Fiona Hiscock and Anna Davern; absent: Ali limb, Jeff Taylor, Roseanne Bartley; photo: Robyn Phelan

Collection
Val and Michael Gregg in
their Sydney home
The Heart and Soul of
Collecting
Elisa Bartels spends a memorable morning with Val and Michael Gregg
The motivation behind collecting is varied; some see it as a financial investment; for others it's a passion,
even an obsession . In an apartment located inside a beautiful old building in the heart of Sydney I met
a collector who said it was genetics coupled with an early passion that started her on a journey of
collecting Australian ceramics.
To enter the home of Val and Michael Gregg is a privilege and it took all my professionalism not to
clap my hands in glee as I slowly took in my surrounds. Every surface in their elegantly dishevelled home
is covered in Australian and English ceramics, some dating back to the 1700s.
Val will proudly tell you that she comes from convict stock. Her ancestor, a potter from Bristol, married
another potter from Derby. A poor decision to steal a bolt of flannel cloth earned him a life-long
holiday courtesy of her Majesty. A few years later, his wife joined him and they set up shop in Forbes,
NSW making and selling pots in the 19th century. Maybe it was an ancestral tug that made Val, who
was nursing at Wagga Wagga Base Hospital, notice a pale pink and black Martin Boyd coffee pot in
the window of a local gallery and subsequently part with a fortnight's pay. That was the start of her
collection and her passion has never dimmed.
100 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

Val Gregg in her kitchen
She met Michael when she was nursing in Brewarrina and together they continued collecting (mainly
English) ceramics until Val declared, "I'm Australian, so why am I collecting English ceramics?" At
that moment she passed the responsibility of the English ware to Michael and dedicated herself to
acquiring Australian studio pottery. Most collectors impose rules on their acquisitive pursuits. This helps
in making the collection coherent, similar to a story which can be read visually. For Val, each piece must
be representative of a period in our ceramic history. The pieces must speak to her, but she was quick to
point out that she doesn't necessarily like every piece. What is more important is that there must be a
culturally defining quality present.
To this end, the shelves are loaded with works from all eras, all jostling for attention. Kirsten Coelho,
Jeff Mincham and Mel Robson sit easily beside Grace Seccombe and Marguerite Mahood and the
early convict ginger beer bottle glances across from its shelf and feels very much at home. There is no
snobbery involving pieces having to be 100% handmade; some are purely decorative, such as the 1950s
Taronga Park souvenirs of hand painted koalas and kangaroos by Grace Seccombe. Kitsch meets modern
whilst saluting classical and it all works because it sings the story of Australian pottery.
The cohesion of Val's collection is arrived at by having a few rules. As well as each piece being
indicative of an era, they must also illustrate Val's other loves: nature and people. Growing up in Wagga
Wagga and years spent nursing in rural Australia has nurtured in Val a love of nature. She waxes lyrical
about flannel flowers and they can be seen on numerous pieces. Others featuring kangaroos remind her
of all the joeys she saved from their dead mothers when stationed in Brewarrina. In fact her favourite
piece is one by Lynda Draper which is a kangaroo surrounded by flannel flowers.
Val and Michael's collection includes many Aboriginal pieces. (She met Thancoupie in 1975 at a
THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012 101

1 Potter's mark on a lucie Rie pourer 2 Incised triangle on a Chelsea Porcelain Factory jug, soft paste porcelain, 1745-49
3 Display including work by Patsy Hely. Gail Nichols. Thancoupie and Carol Williams; photos: Vicki Grima
celebration for International Women's Year and acquired some of her ceramic eggs.) It is their affinity
with nature, their sense of belonging to the natural world, exemplified in their work that draws her.
Colleding for over 50 years makes Val and Michael uniquely qualified to comment on the evolution
of Australian ceramics. They have seen ceramics evolve from the fundional to merely decorative and
back to the functional. Their shelves are brimming with works from a time when we looked abroad for
guidance through to pieces which demonstrate a growing confidence in our culture and landscape.
A colledion can be the eyes into the soul of the colledor. Val radiates an exuberance for life and clay
which is refleded in the work amassed around her walls. She is just as comfortable fossicking in second
hand shops as she is at gallery openings. Her aim is to leave a proud legacy for future generations. What
to do with that legacy? It was when I asked this question that the smiles momentarily dimmed on their
faces . Val and Michael are uncertain on how to proceed because they have seen other bequeathed
colledions broken up and sold off to acquire pieces that are of interest to the current administration.
However, for the time being they show no signs of slowing down in their hunt for the next piece that
continues to tell our ceramic story.
Elisa Bartels is a ceramicist, writer and dreamer.
http://elisabartels.wordpress.(om
102 THE JOURNAL Of AUSTRALIAN CERAMICS APRil 2012

Competition
The Australian Ceramics Association Photographic Competition
Photographer: Michael Ciavarella; Rowley Drysdale, Michael Ciavarella and Andrew Bryant
15 December 2011; Sunshine Coast Institute of TAFE
Editor, Vicki Grima, set the challenge late in 2011 for the photographers amongst us to capture an
image of a famous potter, the local potter around the corner or someone more personal, like you.
A broad interpretation of the theme was encouraged. First prize: publication of the image (full page)
in this issue, books to the value of $200 from our online shop or 2 years membership of TACA.
THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012 103

Com petition
WINNER
Photographer: Anthony Webdale
Andrew Bryant, 4 January 2012
Andrew's studio in Coolum, OLD
The jury: JAC team members - Grant Ayre, Elisa Bartels
Suzanne Dean, Ashley Fiona, Carol Fraczek and Astrid Wehling
Photographer: Esa Jaske
Malcolm Greenwood, 20 January 2012
Greenwood's Mosman Studio, NSW
Photographer: Andrew Gregory
Martin Gregory, 6 November 2011
Port Stephens, NSW

1 Photographer: Bill Powell, Bill Powell, September 2011, Beech Mountain Pottery, Beechmont, OLD 2 Photographer: Ian
Hodgson, Vicki Scheeren; a totally blind member of Canberra Potters' Society, being assisted by Chris Harford, 29 November
2011, Canberra Potters' Society, Watson ACT 3 Photographer: Marion Jonkers, Stephen Roberts, 28 March 2011, Stephen's
studio, Palmwoods OLD 4 Photographer: Phil Maloney, Laura Higenell, 8 June, 2011; Craft Council of Newfoundland and
Labrador in 51. John's, Newfoundland, Canada 5 Photographer: l yn Bates, Grandson Jackson Bates (3 112), 30 November
2011, Weipa, OLD 6 Photographer: Paul Symons, Janette Loughrey, 13 January 2012, Janette's garden, Wollongong, NSW
106 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

7 Photographer: le Quach, Arun Sharma, October 2011 , Victoria and Albert Museum, London 8 Photographer: AngeJa
Walford, Gus (Iutterbuck, 31 January 2012, JamFactory Adelaide in Gus's studio, Jam Factory, Adelaide 9 Photographer:
lawrence Chan, Kelly Pearce, January 20 12, Forest lodge, NSW 10 Photographer: Cagla Mi.ircioglu, (anbora Bayraktar, 28
January 2012, SeA, Rozelle, NSW 11 Photographer: Mich ael Moynihan, Fiona Fell, 3 January 2012. lismore Art Space, NSW
To see all 27 Shoot the Potter entries, go to http://tinyurl.com/shootthepotter
THE JOURNAL OF AUSTRALIAN CERAM ICS APRil 2012 107

Looking back
I asked some of Australia's top potters to respond to three questions:
What is it about clay that has sustained your interest and passion over the decades?
W hat has been t he most significant change you have noticed in the last
20/30/40/50 years?
Was there ever a time/incident when you seriously considered giving up on ceramics?
To edit down from 6000 words to the short excerpts shown here was a difficult task.
I attempted to capture the essence of their responses below.
Ros Auld
I see my ceramics as sculpture and painting as
well as functional pottery. It can be everything.
It has become an important part of my life and
identity.
Stephen Benwell
One way to gauge the importance of the
Journal is to imagine if we had gone through the
last 50 years without it! Impossible to imagine!
Sandra Black
The endless process of reinventing one's
practice as styles, sales and trends in ceramics
change ... has resulted, at times, in exhaustion,
depression and burnout. However, something
will always happen - a great glaze firing, a
passionate collector calls by to purchase, a
student will thank you for the class you taught.
a fellow artist compliments you on your work, or
a major gallery purchases for a collection. Finally
the magic of the medium never fails to seduce as
it flows through one's hands on the wheel. One
gets lost again in its possibilities.
Les Blakebrough
I came to [ceramics] when it was beginning
to go through this huge transition and ... I was
swept along in a groundswell of great interest.
... through the '80s [ceramics] began to lose
direction, and this continues. One big dilemma is
that in the 21st century there seems neither the
time nor inclination to train in the skills needed
to make handmade work. Lots of art schools
have abandoned ceramic courses altogether and
Australia is no exception .... the whole subject
needs to be re-invented for a new outlook to
surface. No, [my commitment to ceramics wasl
never in question. I think the die was cast back in
my days at East Sydney Tech .
John Dermer
... deep within me there is still a passion
and stubbornness to pursue that 'magic pot'; I
continue to want to push the boundaries. I take
pride in the product and receive encouragement
from mentors and support from my wife. All the
people who have mentioned how much joy my
work has brought them have helped me maintain
the discipline to continue when I may well have
just said "it's all too hard" .
Pippin Drysdale
Throughout my early years I had a wonderful
group of collectors who gave me gratification
and invested in me and .. . gave me the
confidence to keep evolving. I had some great
mentors like Jeff Mincham, Daniel Rhodes and
Toshiko Takazeu who reinforced my commitment.
When one commits to major exhibitions every
two years this keeps you on your toes, because
you have to develop a body of work that
108 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

Looking back
expresses a journey. I have never for one minute
wanted to toss the towel in on such a privileged
life style. I simply eat, drink and dream it.
Victor Greenaway
In 1962 I was 1 5 years old living in a relatively
isolated region in a Victorian country town when
I first became interested in ceramics. Pottery in
Australia published its first issue in that same
year and I was immediately connected to the
pottery world. For the past five years I have been
living in Italy and through the same magazine,
fifty years on, I am still kept informed about and
connected with the ceramic scene in Australia.
Patsy Hely
For me [what has sustained my interest and
passion in ceramics over the decades] is the
connection between clay and use. Although I am
interested in all sorts of objects made from clay,
I want my own work to be situated within the
domestic and the everyday.
I think there is [now] much greater freedom to
make what you feel compelled to make. When I
started in the early '70s, that was much harder.
[I seriously consider giving up on ceramics] all
the time. I don't love clay, in fact I wear gloves
most of the time when I'm using it, except when
I'm painting. I worry about there being too many
'things' in the world, about the effect of making
and firing on the environment.
Col Levy
Dear Vicki,
I really have nothing to say.
Ataraxia!
Sandy Lockwood
The challenge ... is that ceramics is unique
because it still demands interaction with the
material at a high skill level as well as a strong
background in technology that covers many areas
from chemistry to firing kilns. This ... takes time
to learn, and lots of practice to master. Whilst it
is important that ideas are expressed using clay,
it is better if such ideas are expressed with high
levels of technical skill.
But in spite of the incredible difficulties today
of livi ng as a maker, I still feel my life path is with
clay. Limited opportunity for employment does
however allow me to be what I consider a full
time practitioner, a precious freedom to explore,
develop and create. I have so much more to do.
Janet Mansfield
With a need to promote ceramic art and
present it to an appreciative audience, the early
members of the Potters' Society of NSW (now
TACA) held regular exhibitions of their work.
The collectors at that time were mainly
academics and intellectuals who understood the
aesthetic of the handmade and the continuing
history that pottery represents.
The 1970s were boom years with specialist
groups of artists presenting exhibitions and
hosting a wide range of events. The Potters'
Society of Australia was at the forefront of these
activities, initiating conferences that brought
international visitors to Australia and helping to
establish the careers of Australian potters. These
activities have continued to today and will go
forward into the future.
Milton Moon
50 years! 60 years ... more in fact!
Some memories stand out. Harry Memmott
and Merv Feeney will never to be forgotten, at
least not while I'm still alive. Harry was a friend
and a neighbour. Merv was ... more than that.
He was our teacher, unpaid of course, as many
of the best are. Merv could throw like a dream
and any skill I have is down to him. Many of
today's potters aren't as fortunate.
I make pots for much the same reason poets
weave words into linked lines, and painters make
marks in space taking US into the cosmos of the
mind to wonder at the mystery of it all.
Too many pots? No matter; I'm told they make
good road metal.
Gail Nichols
Clay is an international language. I am
fortunate to have been connected with a
community of clay people around the world.
Their support has helped enormously to sustain
my interest and passion.
The range of commercially available ceramic
materials ... has now contracted due to decline
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 109

Looking back
in the Australian ceramic industry and hence a
sharp drop in demand for raw materials. Perhaps
this will drive ceramic artists to source their own
materials and that, in turn, will revive demand for
technical knowledge and skills training. We'll see.
The change I've undergone from a maker
of pinch pots at a mum's pottery class to an
international traveller, exhibitor, author and
educator is probably the most significant
development I've noticed personally. The fact that
I'm not alone on this journey reflects well on the
opportunities and capacity for artistic growth in
this country.
No, [I have never seriously considered giving up
on ceramics]. The cycle of anticipation as work
is made and then fired, followed by post-firing
depression after the kiln has been unloaded,
is a process I've been through countless times
and it continues. I've never reached the point of
wanting to walk away from it all. Clay has taught
me to pick myself up and keep going.
Jenny Orchard
... clay is the best material for making art I
know of.
Thirty years ago, ceramic practice in Australia
seemed dominated by craft values and brown
earthiness. Back then I was influenced by ideas
of architecture and design, colour and form, the
ability to express ideas through the medium, and
a kind of light-hearted re-imaging of what was
possible.
Notions of the material belonging to a
historical craft and utilitarian tradition still
hold strong, but ceramics has now burst the
boundaries of categorisation and joined the art
world in a chaotic cacophony of meaning and
imagination.
Peter Rushforth
When I commenced my work as a potter in
the late' 40s, the dominant influence for many
of us was the philosophy of Bernard Leach and
Soetsu Yanagi who had a belief that the potter
could contribute to the 'Kingdom of Beauty' in
everyday living. Many of us chose to work in
stoneware, which had no tradition in this country.
... those who now enter the field of
ceramics have access to an incredible amount
of information on the subject. The journal of
Australian Ceramics (Pottery of Australia) has
contributed greatly with its continuous flow of
articles on the many aspects of ceramics and, in
particular, the work that is being developed in
Australia. Inevitably there are great contrasts in
the aims of people working with clay ranging
from functional to non-functional work with
often the arbitrary designation of 'craft' and 'fine
art'. The value of such work to me is that people
have the opportunity to fulfil the instinct to make
and create using their hands, and to contribute
to the cultural life of the community.
Owen Rye
My ceramics birthday also happened in 1962
so I feel an unusual affiliation with the magazine.
I chose [ceramicsl after being mightily impressed
by seeing Ivan McMeekin throwing a pot.
Apart from the seeming magic of that, I had no
awareness of what was involved in what was
then known as pottery.
Also, at a time when there were virtually no
clay bodies available to buy, and little knowledge
of glazes for stoneware, the magazine began
to disseminate technical information about
materials, kilns and firing. Now, when everything
has been available for many years, with
instructions, technical knowledge has become
almost unnecessary. A great omission in ceramics
education over the years has been teaching the
detailed history of our profession; fortunately
it is contained within the pages of our national
magazine.
110 THE JOURNAL Of AUSTRALIAN CERAMICS APRIL 2012

Looking back
Surviving the Challenges
David Walker sums up the Australian ceramics industry over the last few decades
How. when and why did your current
business start?
The Walker name has been synonymous with
ceramics in Victoria for more than 125 years
when Edgar E. Walker founded the Australian
Tessellated Tile Company in Mitcham in 1885.
Even in the early days they supplied potters with
fine quality clays, glazes and ceramic materials.
Walker Ceramics was established in 1955
by Geoffrey and Constance Walker producing
glazed porcelain functional ware, and later
moving to floor tiles, electrical and acid-proof
porcelains and salt glazed tiles. In the 1960s,
Walker Ceramics manufactured its first filterpressed
white earthenware bodies for commercial
potteries and art suppliers as well as coarser
stoneware and porcelain bodies, often to a
potter's individual specifications. No.1 stoneware
was originally made for Harold Hughan to suit
his particular firing and aesthetic requirements.
Bodies were developed as customers requested
different effects for their work.
What have been the most significant
changes you have seen in that time?
From the coarse earthy bodies and white
earthenware bodies matching the English
standard bodies of the '60s, the direction
changed in the '80s to fine white stoneware and
even finer plastic translucent porcelain.
Potters required bodies suitable for fast
production for throwing, jigger and jolley, slab
building, pressing and casting. Bodies that
formed eaSily, dried easily without warping and
cracking, took colours and glazes well and had
good fired strength for domestic functional use.
With this drive for good quality functional
ware came the demand for highly decorated
ware. There was a movement away from oxide
decoration towards brighter, more colourful
decoration. Many colours were imported from
America but were found to be not always
suitable for stoneware temperatures. Stains were
developed specifically for the Australian market
as clay-based underglazes. These colours were
bright vibrant and generally intermixable to give
the ceramic artists a huge palette of colours with
which to decorate.
What changes have you seen in clay bodies
in the last few decades?
Through the early 20th century potters were
restricted to mixing clay themselves or using
production bodies from ceramic industries that
were willing to sell to interested potters.
The '60s were driven by coarser, fireclay-based
bodies, which produced amazing results under
both reduction and oxidation firing. Then with
the addition of iron oxides, manganese dioxides,
basalts, reef clays, sandstones and granites, a
THE JOURNAL Of AUSTRALIAN CERAMICS APRil 2012 111

Looking back
Bendigo Pottery d ay baY'; photo: Oavid Walker
myriad of fired finishes were possible.
As more educationalists wanted to teach
the finer art of ceramics, along came white
earthenware and school earthenware/stoneware
bodies to make teaching the next generation of
potters easier.
The last few decades have been about fine,
white plastic bodies for all temperatures with a
recent move back to more open coloured bodies.
What changes have you seen in raw
materials in the last few decades?
In order to be assured of ongoing consistency,
the artisan pottery industry has always been
restricted to raw materials that were used in bulk
quantities in both ceramic production and larger
industries.
Ball Clays from Axedale, Rowsley, Heyfield,
Campbellfield, Scoresby, Bacchus Marsh; china
clays from Oaklands, Pittong, Stawell, Broken Hill,
Weipa, Kingaroy; fireclays from Hallam, Ferntree
Gully, Ipswich, Dinmore ... all these clays have
been used by large industries, hence they were
mined and stockpiled in very large quantities
to ensure ongoing consistency. The source of
Australian plast ic kaolin in the Gulgong region
has closed at least 80% of available pits - luckily
we have a couple left that give us the ability to
produce some of the white plastic stoneware and
porcelain bodies .
Australia has two of the world's best and
largest feldspar deposits in Mukinbudin and
Pippingarra in Western Australia, but it is now
more economical for our supplier to import from
India.
Since the opening up of the Australian market
to worldwide competition and the corresponding
decline in Australian ceramic businesses using
these materials, many materials have become
uneconomic to mine and/or process locally, so
there is now a limited range of raw materials
from Australia.
What changes have you seen in the market!
industry in the last few decades?
Through the buoyant '60s, '70s and '80s, a
large number of successful individual potters
and potteries producing high quality ceramics
developed a following by the Australian public.
This promoted interest in the next generation of
practitioners so there were many universities and
TAFEs throughout Australia providing courses to
develop the special skills required to succeed in
this industry. These professionally run courses,
as well as structured" apprenticeships" , ensured
that there was an ongoing knowledge base for
the next generation. Fortunately there is still
a strong core of courses w ith dedicated staff
(though still too few!).
Long term professionals have fine-tuned what
they supply and also the structure and style of
their marketing; and while the quantities are not
there, the quality of what is offered is still being
appreciated.
I am proud to be part of an extremely resilient
craft industry and I admire all the artists who
have survived the challenges over the past twenty
years. We must all produce the best quality
product we can and provide it to our clients in
such a way that they appreciate the quality of
time and effort used in producing it. We need to
" sell" a part of ourselves in each and every piece,
as each piece stands on its own once it leaves
our care.
www.walkerceramics.com.au
112 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

Moving forward
Craft to Consumer
Ingrid Tufts, designer and maker, discusses expanding her reach in retail
There will be readers who have huge amounts of experience in
making and so I write this with the acknowledgment that my
practice is only beginning. Although I make both produdion
work and exhibition work, I am focusing here on how I market
my production work.
I am lucky that I have come to this vocation at a time when
there is plenty of interest in the handmade and the locally
made. In Melbourne, at least, we are lucky to have a public
that is interested in, and informed about, design. We also have
a wonderful array of materials and tools readily available. In
childhood I had great encounters with clay and my first piece
still exists - it is something I love. As a child I experienced a
freedom with clay that was not apparent in any other medium.
The plasticity seemed to offer unlimited potential.
My work is predominantly fundional ware in high-fired
porcelain but I often get nostalgic for earthenware and find
some terracotta to work with. I like to explore the reprodudion of imagery, to experiment with colour
and to discover collaborative ways of working. I am also trying to understand my materials better.
I studied part time at Box Hill TAFE where I received a great design education and learned pradical
skills from inspiring teachers, but I came to a point where I had to decide between further education
and going back to the studio. The studio won and I feel like I am now doing my own apprenticeship.
I call myself a designer and maker. It's an accurate
description of what I do, as my practice involves
prototyping, making and marketing. Whilst making is
the focus and the most enjoyable part, I find the whole
Ingrid Tufts, Play
Teapot and Teacups
1, porcelain
. Andrew Barcham

Ingrid Tufts, Remembrance Bottle, Tray and Beakers, 2009, porcelain, thrown, altered; photo: Andrew Bareham
process very creative and satisfying. My production work is made to have a life in the world, to be used,
and so the question of how to get it out there is one that I consider often.
Although my making practice is now my vocation, I also like to work on things that don't necessarily
earn income, like volunteer teaching and other community projects. I also work two days a week
outside of my studio in a job which offers travel and contact with people that I would not otherwise
have. This exposure to non-studio life influences my work. It also allows me to take risks in the studio
projects, giving me breathing space in my practice.
About two and a half years ago I started more seriously to make production work. My first experience
of retail was renting a cubicle in a shop. Some of the works I created at this stage were kind of strange,
but it gave me a good chance to think about how my work might be displayed in a retail setting and
how work could be marketed. There was no pressure to sell. For me, just having my work in a retail
setting was enough.
About that time I applied to take part in the Melbourne Design Market and my involvement
continues. It is held in a car park of Melbourne's Federation Square twice a year and it's either stiflingly
hot or bitterly cold. It provides an opportunity to communicate with customers and it is always frantically
busy. It is here that some of my most valued retailers found my work, as designers and makers interact
with those with an interest in, and knowledge of, design.
It seems that most Australian states now have a design festival. Design Made Trade, part of Victoria's
annual State of Design Festival, is a trade show for designers to meet retailers, galleries, industry and
114 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

-- -- ._----------
Moving forward
Ingrid Tufts, Say what you mean, 2009, porcelain. whee!thrown. decal decoration; photo: Andrew Bareham
media. I initially participated through Craft Victoria in 2010. Some great opportunities arose, like
participating in the Home Beautiful Product of the Year awards. This year I took a stand myself as I have
decided this kind of marketing is really valuable to me. It enables me to present my whole range of
work in a clear way that makes sense to retailers and galleries.
I have a small selection of retailers and galleries who carry my work. Trade shows, markets and media
have been important in building these relationships, and websites like the Australian Ceramics Directory
have also been important in promoting my work. I have let this happen quite organically, which has
enabled me to keep up with retailers needs. At first I was a little shy about my work, but I am now
much more inclined to discuss work with my retailers. Galleries and retailers like Beaver Galleries in
Canberra and Potier in Melbourne have been instrumental in building my practice, as they have been
supportive from the beginning.
A good deal of getting my work out there has been due to media participation. I really appreciate
the exposure offered by magazines and blogs and I am always happy to send photos or work for
photographing to editors.
It's difficult to ignore the impact of digital media on the promotion of my work. Magazines editors,
retailers, customers and stylists tend to visit my website at some point, so it's important it is kept up to
date. One priority at the moment is to shed some light on the process, so to this end I have been setting
up blogs that relate to the various facets of my work and trying to write about what goes on in the
studio.
Aside from my own range of production work, I work on commissions for commercial clients and
THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012 115

Moving forward
collaborate with other artists. These include the Donna Hay General Store, restaurants such as Cumulus
Inc through Craft Victoria, and cafes such as Dead Man Espresso in Melbourne. Clients commissioning
handmade work are passiona te about what they do - often coffee or food - and so these commissions
may involve coming up with new works or modifying existing designs to meet their requirements. There
is a need to negotiate and educate clients so they understand the process, but are not burdened with
the minutia of making.
We are really lucky to have support from organisations such as Craft Victoria's New Craft Program, as
participating in the program has allowed me to work with a great range of commercial clients and with
exciting upcoming artists such as Michaela Bruton and Katherine Bowman.
One of my more commercial collaborations has been with botanical artist Arnolda Beynon in the
creation of the Beynon + Tufts range, a collaboration which came about from the desire to create
handmade tableware with Australian botanical illustrations. The range needed to be locally designed and
handmade and, where possible, made with local materials.
It's the collaboration with artists that provides great learning opportunities, especially those from other
disciplines. The exchange of ideas and feedback is great. as is getting a glimpse into processes involved
in working with other materials. It is working with artists that interests me and enriches my work.
I marvel at the many and varied ways of being a potter there are these days. Over the years, the ways
of selling pottery may have changed, but we still share the passion and joy that comes with making pots.
www.ingridtufts.com
www.ingridtufts.wordpress.com
Ingrid Tufts and Michaela Bruton,
Craft Victoria Beakers, 2010, porcelain, wheelthrown
de

----------------------------------------~---~~--
Moving fo rward
•
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t, ,
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•
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Viti
Steve Williams reports on Aboriginal
Ceramic Design at Great Lakes TAFE Art
and Design School in Tu ncurry NSW
Alison Page, Executive Officer, Saltwater Freshwater Arts
Alliance and Manager of the National Aboriginal Design
Agency, holding a Bush Lemon cup designed by Damien
Aidan; above left: Yili Graphic. logo by Cheryl Heikennin
'Yili' is a Gathang word for bush or leaf. It is also the identity and brand for Aboriginal Design Training
established as part of a pilot design program at the Great Lakes TAFE Art and Design School in 2010.
The Certificate 4, one-year foundation design course for Aboriginal artists generated product prototypes
in partnerships with a number of local manufacturers. Completed prototypes included a range of
ceramic vessels that were presented and marketed under the Yili brand, with great response from
market testing.
The Great Lakes TAFE Art and Design School introduced the Aboriginal design program in support
of the local Aboriginal community and Tobwabba Art. Beginning in 1992, Tobwabba Art is a 100%
Aboriginal-owned artist collective providing employment and income for twenty-two Aboriginal artists
and staff~ Tobwabba is a Gathang word meaning 'place of clay' ... some added magic for ceramic
production. The design course provides opportunity for emerging and establ ished artists to explore the
design process and contemporary product design in local and international markets.
Alison Page, designer, ABC New Inventors panel member and Executive Officer Saltwater Freshwater
Arts Alliance, worked closely with North Coast TAFE in preparing for and mentoring on the program.
Alison is a descendant of the Walbanga and Wadi Wadi people of the Yuin nation and is passionate and
enthusiastic about the future and opportunities for Aboriginal designers and artists. Alison heads up
the recently formed National Aboriginal Design Agency (NADA), which aims to establish joint ventures
between Aboriginal artists and manufacturers to create design products such as lighting, furniture, and
architectural hardware. NADA is a potential employer for students who graduate from Aboriginal design
courses, as they provide royalties and fees for design services.
Ceramics was a 3D focus within the one-year design program. Students came to the 3D studio nine
weeks into their course with well-developed drawings and refined 2D designs. They had screen-printed
THE IOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 117

1 Jan Leon, Platter; detail. porcelain, slipcast, clear glaze, diamAScm
2 Jan leon and Denise York, cups, prototype, porcelain, slipcast
tallest h.9cm, screen-printed wallpaper
3 liam Simon, porcelain cups, tissue transfer, fluxed pigment print
tallest h.8.5cm, wrapping paper prototype
Photos: Scott Calvin
4 Pauline Grothkopp applying shellac to clay master prior to mouldmaking;
photo: Steve Williams
Opposite page: Pauline Grothkopp. porcelain cups, slipcast, clear glaze
h.9crn, embossed paper: photo: Scott Calvin
their designs onto a range of products including wallpapers,
wrapping papers, table runners, bags and cards.
The school worked closely with local signage manufacturers
Jensen Timberworks and Plastiglass who produced relief
surface panels from refined 20 designs using a CNC
(computer numeric cutter). These panels were used as print
plates to produce embossed papers for blank stationarylcards.
They were also used to produce moulds for casting platters.
Ceramics drinking vessel design ... how should we begin?
... perhaps establish an environment for ideas and making
that encourages learners to leave behind (for a moment)
what they expect and what they 'know' a cup to be. I was
keen to set up an environment where students could explore
surface and form w ithout referencing any particular visual
expectation. All students had explored and shared culture to
generate stories and had a wealth of 20 designs, so we had
fertile ground for 3D translation.
The design brief given to students asked for drinking
vessels for sight-impaired or blind people. This jolted students
and created a thinking shift, leaving to one side any surface
treatment utilising colour. An uncoloured relief surface
emerged as a solution . The result was an inviting relief
surface where light creates tonal values - white on white on
white using clear glaze on porcelain. The cups have been
described as having a contemporary, sophisticated feel.
Students shared in the development of two different cup
bodies and chose five relief surface designs from which
masters were made. The vessel bodies were slightly leaning
and oval, referencing the organic qualities of a tree, and
provided a considered place for the hand. Forms were also
influenced by discussion and exploration of traditional vessels
such as coolamons and bangalow palm baskets. Master
forms were created by transferring their designs onto solid
clay blanks using brushed shellac and methylated spirits and
sponging the surface to wash away the surrounding clay. The
brushed shellac areas remain in relief - the more sponging,

1 Pauline Grothkopp and Jan l eon, porcelain cups, slipcast, h.9cm
lyn Davis, screen-printed wrapping paper prototype; photo: Scott Calvin
2 Sonny Paulson applying shellac to clay master prior to mould-making
3 Denise York, Pauline Grothkopp and Jan leon. CNC Weathertex
panels. diam.2Scm; photos: Steve Williams
the greater the relief. Students shared in, and documented,
the production of one working mould from one master.
Mould making and production was then outsourced as would
be the case for larger production and market.
All vessels were slipcast using a porcelain body, clear glazed
and fired to 1300°C. Students stayed in touch with the
process and supported production, but were not responsible
for production and quality - an experience that parallels that
of the designer, ie. to have knowledge of manufacturing
materials and process, design within parameters, but not
necessarily to make.
Some of the 2D designs were transferred as a printed
surface onto vessels using tissue transfer techniques and a
fluxed black pigment. The cups were glazed on the inside
with the outside surface offering a two toned stone feel.
Yili was officially launched, complete with product swing
tags, at an exhibition at Manning Regional Art Gallery
in Taree NSW in December 201 1. In speaking at the
launch, Grace Cochrane, writer and former senior curator,
Powerhouse Museum Sydney said, "Yili has produced a range
of well-designed and made works in a range of materials that
are very contemporary in their appearance, and yet are drawn
very distinctly from a sense of cultural identity."
In 2011, the school also explored another innovative
project with local manufacturers, Kwikstitch. As an industrial
embroidery business, they have generated stitched piecework
for a range of products. In addition to providing ongoing
training to some of the 2010 Yili students, we have run a
series of 'taste of design' workshops to introduce younger
Aboriginal students to design. encouraging pathways into
what is sure to be a new and bright industry in this country.
Steve Williams is Head Teacher of the Great Lakes TAFE
Art and Design School, TuncurrylForster NSW, Creative
Industries Faculty, North Coast TAFE; T: 02 6555 0616
See pages 58-63 for the article by Gail Nichols on
Steve Williams, Playing Loose.

Moving fo rward
Digital and Analogue
Hayden Youlley jumps at the chance to work with Rod Bamford an d
his 3D ceramic printer
Experimentation with three-dimensional printing and a vast array of materials
reveals countless possibilities in both manufacturing and consumer habits.
As the technology advances and becomes more affordable, the possibility
of consumers, artists and designers owning personal 3D printers (that allow
them to purchase objects online or create them with personal software and
print them out instantly) is becoming very real. Today, 3D printing machines
can create objects using metals, plastics of different strength, hardness and
flexibility, stone-like materials (in full CMYK colour), food, concrete and
ceramic.
Rod Bamford has spent eighteen months building a 3D ceramic printer. For
the last four months, I have been helping him experiment with it in order to completely understand the
process, and then to push its capabilities to its limits.
Rod Bamford is a lecturer in the School of Design Studies at the College of Fine Arts (COFA),
University of NSW. His work traverses the fields of art and design, drawing on experience in the field of
ceramics, digital media technologies and related media. Rod's research typically explores the relationship
between natural and technological experience.
He was drawn to this project because he is fascinated by the idea of combining apparent opposites -
digital modelling and analogue clay.
To start his 3D printing experiment, Rod went online to purchase the plans and parts to build the
Rapman 3D printer from an Australian company, Benson Machines. The Rapman 3. 1 kit version is an
affordable starting point for 3D printing experiments. It took 3-4 days to assemble the kit, but many
more were spent experimenting to get the quality of print required; the Rapman's 'hackable' structure
lends itself to redesign and experimentation.
• >
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Top right: 3D printer with clay extruder print head
Above left: Preparing a G code file for printing
Right: G code print paths
THE IOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 121

Above: Rendered 3D model of scanned subje

Moving forward
digitally using the CAD software, the file is
exported into a format that the 3D printer can
read . This file is then placed into the 3D printer
software so that it can dissect what you have
designed into layers and paths for the print head
to follow. We started the experiment by printing
something very simple - a 3cm-tall, hollow
cylinder.
The 3D ceramic printer uses compressed air
and a rotation device, called an auger, to push
clay from a syringe through a needle in the print
head. This can move both left and right and back
and forth, controlled by a computer and motors.
In our case, the computer was controlling the
print head to move the needle in a perfect circle
to print the first layer of slip of our 3D cylinder
onto the print bed .
The print bed is then lowered by another
motor on a different part of the printer, ready
for the next layer of slip to be printed directly on
top of the first. This process was repeated until a
height of 3cm was reached .
With this print process nailed, we decided to
attempt a scale replica of a 3D scan of Rod's
son's head, complete with baseball cap. This
was challenging, because gravity can cause the
clay wall to collapse eaSily under its own weight,
especially where the design involves layers that
overhang the layers beneath.
Above: BFB Rapman 30 printer
Below left: Completed 3D print section of Fuddling
Manoeuvre; back. side showing reinforcement
Below right: Completed 3D print section of Fuddling
Manoeuvre; front

Roderick Bamford, Fuddling
Manoeuvre. 2011, bone
china clay waste; Hyperclay:
Contemporary Ceramics
Object touring exhibition
Photo: courtesy artist
We considered using forced air-drying, or possibly using a second print head that can print support
material around the object, but the solution Rod eventually settled on was more immediate and visually
interesting: dicing the object into 4 separate prints and re-orientating each on the print bed to avoid any
overhangs, and then piecing them back together by hand. This fascinating process produced immediate
visual and tactile results.
Rod's work is experimental because the technology is still developing, and little research has been
done in the field so far. His printer is becoming increasing reliable with each experiment, and it is
exciting to consider what this technology cou ld make possible for ceramicists.
The 3d prints of Rod's ceramic works are currently being exhibited in a touring exhibition, Hyperc/ay:
Contemporary Ceramics. It's a provocative exhibition of Australian ceramicists who use clay in new and
exciting ways, challenging and re-imagining the material.
For more information please visit www.object.com.au/exhibitions-events/entry/hyperclay_
contemporary _ceramics/.
Hayden Youlley majored in ceramics in a Bachelor of Design at COFA, University of NSW.
Since completing his degree he has started producing his own tableware designs.
His work is about combining a range of techniques in concept and form development with
handcrafting or limited batch production to achieve an aesthetic of quality and integrity. 3D
modelling and 3D printing in plastic are an integral part of his design process and when given
the opportunity to work on something so experimental with boundless potential, he jumped
at the chance.
www.haydenyoulley.com
124 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

Pantjiti Lionel
Contemporary Ceramics from
the Desert
A report on the 2011 Ceramics Festival by 10 Herbig and Franca Barraclough
Over the last 10 years, the development of ceramics in Central Australia has been slow but now involves
a broad cross section of people within the ceramic artist community. Many prominent ceramic artists
have been drawn to this harsh, quirky and beautiful part of Australia, and some have inspired others
to take up this superb medium. Despite the growing number of established ceramic artists living and
working in Central Australia, there continues to be a lack of representation.
The 2011 Ceramics Festival, initially conceived by Franca Barraclough, was developed and
implemented by Barraclough and Jo Herbig (Exhibitions Officer, Araluen Arts Centre) and supported by
Red Hot Arts Central Australia. Their aim was to stimulate, support and celebrate the Central Australian
ceramic sector with a weekend of workshops, seminars and exhibitions that showcased emerging and
established traditional and contemporary ceramic artists. It was held at the Araluen Cultural Precinct.
During the developmental phase of artistic content, two workshops took place. Artists and curators
drove to Ernabella to participate in a weekend workshop with Pantjiti Lionel and Ernabella Art Centre
manager Ruth McMillan. It was a valuable experience for all to spend time with Pantjiti in her country
and to see this gifted artist in action. A second workshop took place at Central Craft in Alice Springs to
give artists and curators an opportunity to meet and spend time with Patsy Morton, who lives mainly
THE JOURNAL Of AUSTRALIAN CERAMICS APRil 2012 125

out bush at Arungi on her homeland, These workshops were
an important and significant opportunity to ensure cross
cultural exchange, inclusion and connection between all
participants.
The festival opened on Friday 18 November 201 1 in
Alice Springs with two exhibitions: Sequences and Cycles:
Contemporary Ceramics from the Desert at the Araluen
Arts Centre's Sitzler Gallery, and Surface, an exhibi tion of
emerging ceramics at the Central Crah Gallery.
As part of the festival, a Contemporary Australian
2 Ceramics Seminar was held on 20 November with Prue
Venables as keynote speaker. She spoke eloquently on
various national ceramic artists and in general about the
state of the contemporary Australian ceramic sector, Other
speakers included Pip McManus, Mel Robson and Julie Taylor.
Discussion between audience members and the speakers
was lively throughout the seminar with topics ranging from
funding and support to a wider discussion on sustainability
and the value of handmade domestic items,
1 Jo Herbig and Prue Venables at the
Sequences and Cycles exhibition opening
2 Pantjiti lionel, Eagle Katjara, terracotta
with slip, sgratfito and terra slgillata, h.15cm
A long awaited ceramics workshop specifically for budding
new ceramicists aged 8-15 years provided an opportunity
to explore the human face as a sculptural form. For many
participants this was the first opportunity to play with clay, an
activity that produced an assortment of inspired clay masks,
Sequences and Cycles: Contemporary Ceramics from
the Desert was born from a desire to see a professional
3 Amanda McMillan (left) and Pip McManus at the Ernabella Workshop
4 Patsy Morton at the Central Craft Workshop
5 Pip McManus at the Central Craft Workshop
126 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

Above: Mel Robson , Sticks and Stones 2, detail, porcelain, slipcast, decals, various dimensions
Below: Installation view of Sequences and Cycles: Contemporary Ceramics from the Desert. Sitzler Gallery
Araluen Arts Centre. November 2011 ; photos: courtesy Araluen Arts Centre
exhibition of established contemporary Central Australian ceramic artists and celebrate their talent by
creating a space for the creation of new work. Participating artists were selected for their artistic merit
and their ability to cultivate fresh and innovative work and their potential to push the boundaries of
their own notions of ceramic art. Those chosen included Pip McManus, Mel Robson, Patsy Morton,
Pantjiti Lionel, Amanda McMillan and Suzi Lyon .
The original concept for this exh ibition was cultivated in the early first stages of artistic engagement
and dialogue. Three of the artists initially approached were simultaneously exploring the potential for
clay to follow a full cycle and return to the earth through degeneration and disintegration. This specific
focus was provoked and informed by current environmental situations. 'Sequences' and' cycles' unified
the processes involved and so informed the decision to choose this as a thematic exhibition concept.
These words also apply to the degeneration and regeneration of everything, from the formation of
sedimentary rock to the healing of the human body. A cycle is an interval of time during which a
characteristic, often a regularly repeated, event or sequence of events occurs. As animals, humans are in
THE JOURNAL Of AUSTRALIAN CERAMICS APRil 2012 127

4
1 Installation view of Sequences and Cycles: Contemporary Ceramics
from the Desert, Sitzler Gallery, Araluen Arts Centre, November 2011
2 Patsy Morton with her work at the exhibition opening
3 Pip McManus, Water, ceramic. Ernabella terra sigillata slip, steel
weathered jarrah, h.17cm, w.24cm, d.l OCm
4 Amanda McMillan, Untitled (diptychl, recycled clay, earth, bush!ire
ash, plastic and water, on board, each h.91.Scm, w.91 .Scm
Photos: courtesy Araluen Arts Centre
a constant cycle of renewal; just like the earth, A sequence is
linked by development from one place to another. Sequences
can relate to time, to layers of the earth, or, indeed, to the
notion of order as opposed to chaos. Applied to living things,
the basic fundamental structure responsible for what (and to
some degree who) we are, is related to sequencing.
Clay was used by these contemporary artists to produce
objects of art reflecting the sequences and cycles which they
experience whilst living in the desert. All have a relationship
with the desert, its seasons, its births and deaths and its everchanging
landscapes.
Their exhibition artwork contained a deep reverence
for nature, which not only celebrated nature's cycles
and the resulting formations but dared to question the
permanent nature of fired ceramics in relation to this era of
environmental degradation. Suzi Lyon, Pantjiti Lionel, Amanda
McMillan, Patsy Morton, Pip McManus and Mel Robson
have visually articulated what is on the minds of many, cross
culturally, worldwide.
Jo Herbig and Franca Barraclough
Curators of Sequences and Cycles: Contemporary
Ceramics from the Desert

Potters Marks
Potters Marks
John Dermer
Elaine Bradley
Peter Rushforth Steve Williams Susie McMeekin
Tania Rollond
Michael Stephan
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 129

Ja

---------
Event
Packer Civic Gallery, University of SA, touching on the use
of traditional skills and design techniques over a period
of 150 years. It w ill examine aspects of the historical and
contemporary influences that European and Asian culture and
technology have had on the development of South Australian
ceramic practice. Within this exhibition there will be a particular
focus on Bennett's Pottery, a fifth generation commercial
pottery and the only one still in operation in South Australia.
Graduates, a selected survey of graduating students
work from tertiary ceramic courses across Australia, w ill also
be located within the West End precinct, providing a great
opportunity to catch up with the work produced by recent
graduates.
A short stroll down North Terrace from the Triennale will
bring you to the heart of the cultural boulevard where you
can take in a fantastic suite of exhibitions. Flinders University
Art Museum, City Gallery, will be presenting Highlights from
the 2011 Indigenous Ceramic Art Award and Earthworks,
Contemporary Indigenous Australian Ceramic Art. Next
door, the South Australian Museum will be presenting an
exhibition of contemporary Indigenous ceramics from Ernabella
Arts Inc. Adjacent is the Migration and Settlement Museum
showing an exhibition that invites immigrant ceramic artists
to consider their cultural roots through their responses to
particular personal cultural artefacts.
Dotted amongst these venues is an array of cafes and
eateries offering delicious food and havens to stop for rest and
sustenance.
The exciting array of exhibitions also extends outside the
city area . Sites will include Aptos Cruz in stunning Stirling, just
twenty minutes away through the beautiful Adelaide Hills. This
gallery will be featuring The Great Eight a national selection
of ceramic artists plus a feature exhibition of works by Milton
Moon, a well renowned South Australian ceramic artist.
Bus tours will be available to take conference delegates
to regional exhibitions and wineries through the picturesque
Adelaide Hills. Clearly there is so much on that you might need
to extend your stay.
Masamichi Yoshikawa. Installation view. 2011
porcelain, Chigasaki City Museum of Art. Japan
1 Judrth Thompson, Catalogue. Sk4n!Jdroovian Funk - PecU/N3( Adelalfk CeramICS 1968-1978
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 131

Event
Subversive Clay:
the 13t~;a¢ Le ~a~~ Conference
--- -
aka the 2nd Australian Ceramics Triennale
Gentle Reader,
Just a quick note to tell you that from 28 September to 1 October 2012, Adelaide will host the
Australian Ceramics Triennale, Subversive Clay.
The last time Adelaide held such an event was in 1993 when the 7th National Ceramics Conference
had 'Celebrating the Maker' as its theme, prompting one to wonder just what has happened in the
meantime to have transformed a gathering celebrating such a benign occupation into one hosting
a potentially dangerous substance. Is clay the new plastic explosive? Or, instead of Molotov and Guy
Fawkes, will we get the cast of the Big Bang Theory, with Sheldon following everyone about obsessively
calculating food-safe liner glazes while interstate delegates try to throw themselves in the Torrens River,
only to find out that it's actually just a toddler's wading pool, but a bit browner and with algae?
The whole idea of subversion is pretty chic these days, especially in the arts. Just look at the Saatchi
exhibit, promoted with much hype (literally spin - it included DJs), at the Art Gallery of South Australia
in late 2011 . There were riots in the streets and folk entirely changed their worldview after witnessing
these exhibits. God, talk about your subversives ... there were even tweets! (The real subversion was
taking place behind the scenes on the opening night, where the then Premier of South Australia and
Minister for the Arts the Hon. Mike Rann was in the process of being deposed by some factional
powerbrokers in a typical Labor party putsch.)
Mind you, Adelaide is the perfect place to host an event exploring the subversive potential of
ceramics, as it was home to a style of work - Skangaroovian Funk - that did address political issues,
both in the sense of Realpolitik (Mark Thompson's famous 1979 piece Ma Don Na about the downfall
of Don Dunstan, a previous premier of the state and someone who served as an early mentor to Mike
Rann - SPOOKY ...) and social issues such as gender and sexuality, which are political by virtue of
parliament's legislative role in running our lives.
Then there is the question of whether the simple act of working with clay, or any craft medium,
might be seen as being subversive. And if so, to whom, and how? Was Bernard Leach actually a closet
28 Sep - 1 Oct 2012
ADELAIDE

Trotskyite, with A Potter's Book being a 'little brown book' designed
to encourage radical socialist rural collectives, cleverly camouflaged as
galleries and tea rooms in Wiltshire, Devon and the Southern Highlands
of NSW?
(Who knew the import of the tenmoku casserole, before the
revolution ... but then the fascists came, w ith their porcelain and their
whiteness, cleansing the world of the stain of iron. The serried ranks of
bowl, bottle and beaker - mute, chaste, silent and photogenic, not to
mention hygienic. In the seventies, Austral ians used to point Percy at the
porcelain - not now. Verboten. But I digress.)
We are used to thinking of clay as a building block of society, and
those material associations to bricks and crockery are with us always.
This is why positioning clay as high art is always going to be a big ask.
It's mimetically challenged and its simulacrum valve is on the blink,
because the primary function of clay is not to imitate but to be.
One strategy for subverting clay is to use it in an unexpected way or
in an inappropriate manner, and I dare say there will be much of that
on display in Adela ide. I have it on good authority that the conference
organisers are happy to receive ceramic cheques, as are the local hotels,
cafes, bars and taxis . For the wood-firers, a large anagama will be
built in Rundle Mall and Forestry SA has agreed to supply a few metric
tonnes of sustainably harvested timber. Carbon offsets will be
available at the desk.
Mark Thompson
(Australia, born 1949)
Ma 'lrdon*na, 1979, Adelaide
synthetic polymer paint, decals on
earthenware. porcelain, h.l02.2cm
w.3 1cm, d.26cm, South Australian
Government Grant 1980
Art Gallery of South Austral ia
For those who choose to restrict their activities to the relatively safe environment of the gallery,
lecture theatre and workshop, the good news is that all the major conference venues are w ithin
spitting distance of each other. We have a small but perfectly formed cultural precinct, and I'm happy
to announce that within these boundaries ceramics w ill be precincting culturally for all it's worth. Clay
will be found on plinths, on walls, and - if the images of the keynote artists' work are anything to go
buy - underfoot and on folding chairs as well, which I suppose might be described as underbum. It'll be
a blast.
In closing, I'd just like to say that I'm very glad to have had this opportunity to let you know about
the Austra lian Ceramics Triennale and to sing the praises of Adelaide, known variously as 'the City of
Churches', the 'Athens of the South' and even 'Florence on the Torrens' . I look forvvard to vigorously
subverting with each and every one of you in the not so distant future.
Irreverently yours, Damon Moon, Willunga 2012
THE JOURNAL OF AUSTRALIAN C-£RAMICS APRil 2012 133

Well Read
The Art of Not Making:
The New Artist/Artisan Relationship
by Michael Petry
Published by Thames & Hudson, 2011
208 pages, hardcover, $75
ISBN 9780500238820
Available from www.amazon.com
When I first heard the title, The Art of Not Making, I had to read this book. As one who struggles
with the idea of making stuff, for a world that is already full of stuff; at a time when sustainability is the
catchword of the day and we are, each in our own way, considering the size of our footprints, a book
prepared to reconsider the role of the artist as separate from making, seemed like a godsend.
This is not that book.
This book is a big, hyper-glossy coffee table number in which Michael Petry cites" .. a resurgent
interest in the beautifully designed and produced object ... on an ever larger and more spectacular
scale ... "
The catch lies in the subtitle, Th e New Artist I Artisan Relationship, explained in the introduction,
When Art Meets Craft. " ... we increasingly see those who are named 'the artist' ... directing from the
sidelines, while those with specialist expertise do the heavy lifting or fine detailing."
Setting aside my disappointment in its content, and striving to keep an open mind in the face of yet
another tome reinforCing (whilst pretending to interrogate) the art craft divide, I ploughed through the
five, material-specific chapters.
Petry refers often to the 'new' approach of artists employing artisans to help realise their ideas, whilst
referencing work from the 60s to the 90s and as far back as the 1920s. New? Hardly. And as for any
'controversy' surrounding notions of authorship, surely this became old news with the canonisation of
Duchamp?
At each step of the way, Petry fleshes out the flashy images with banal snippets of history that offer
nothing new to the fields of either art or craft, 'the smelting of metal ores is one of the oldest known
craft processes' etc.
Most interesting are the interviews at the back of the book in which artists and artisans discuss their
working relationships and reveal, in candid moments, some of the feeling they have for one another.
Nevertheless, this book is destined to gather dust (yet another unnecessary object) at the back of my
bookshelf while I go on waiting for some genuinely new and thoughtful research to emerge on the
theme of not making.
Review by Dee Taylor-Graham
134 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

Australia Wide
act
As always, it has been a busy start to the year in
the world of clay in Canberra.
The new studio for the Canberra Potters' Society
artist-in-residence program currently has its first
tenant. Anne Masters, who recently completed
a Masters degree at ANU and was awarded the
short residency as part of the Emerging Artist
Support Scheme. In the Watson Arts Centre
Gallery until 28 April is the touring exhibition,
Hyperclay: Contemporary Ceramics. From 10
to 27 May, painter Angharad Dean and ceramic
artist Caroline Reid will present new work. June
will see two CPS exhibitions - the annual Winter
Fair and the 2012 Student/Teacher Exhibition.
For full detai ls about residencies, exhibitions,
classes etc. go to www.canberrapotters.com.au.
In February, Strathnairn Arts Association hosted
its first artists-in-residence for 2012, Markus
and Ute Bohm, ceramicists from Germany. They
showed their work in the Homestead Gallery in
March. Go to www.strathnairn.asn.au for the full
program of exhibitions and workshops.
Belconnen Arts Centre is one of several galleries
presenting ceramics as part of mixed exhibitions
in 2012. Open Your Eyes, 30 March to 22 April,
will showcase a vibrant selection of works by six
Canberra artists from Israel, Japan, Indonesia,
Spain, Nepal and Poland. The original and
poignant exhibition Maria Crinigan's Tragedy,
27 April to 13 May, will feature sculpture by
Rosina Wainwright which focuses on the plight
of pioneer women; while ceramicist Jacqui Malins
will forsake clay to present drawings which
provide a visual complement and an emotional
contrast to the history of early Ginninderra settler
Maria Crinigan.
Before signing off, as a regional rep for JAC
through the reign of three editors, may I say
how much I enjoyed catching up with those
editors and other friends at the splendid
50th anniversary celebration at Manly Art
Gallery. Thank you to all who helped with the
organisation and festivities on the day. The
speeches were pertinent and the cake was
delicious.
Cheers, Jane Crick
E: janecrick@dodo.com.au
nsw
Congratulations to The Journal of Australian
Ceramics on its 50 inspiring years. What an
influence it has been on Australian ceramics!
Newcastle Studio Potters is also celebrating
a milestone. Back to Back Galleries will be
celebrating twenty years of exhibiting ceramics
in 2012. There are a number of celebratory
shows planned including a tile show with past
members being asked to join in, and another
bowl exhibition, Bowled Over Again, opening
in September. Go to www.newcastlepotters.
org for details.
Further north, Julia Stewart made her mark with
an exhibition, Fragile at Serpentine Gallery,
Lismore. Julia's delicate work was made using
cellulose fibre to create moulded porcelain pots.
The decline of bat habitats and resultant disease
issues are described in the extremely fine slipcast
strawberry figs. Octo babies continued the
environmental theme in the work of Advanced
Diploma student Cynthia Manietta where 25 cast
baby-faced octopi seemingly spread themselves
like star fish taking over everything in their way
(population growth). Taking this theme further,
Cynthia 'tagged' 36 muscles like endangered
species and printed an image of dead fish into
bowls. Jenny Moore, another TAFE graduate,
posed theological questions on slipcast vases
with biblical texts from Genesis on one side, and
images of Charles Darwin on the other,
A highly successful commission for a 16th
century European-inspired bar, measuring 1
metre high by 10.2 metres long, has been
fabricated by Jane Randall-Smith and is a fine
example of more than 680 handmade tiles
illustrating a bounteous Basket of Fruit inspired
by Carravagio and Sleeping Dog by Gerrit Dou.
The bar complements the other crafted elements
in this Spanish bodega-style restaurant, Rustica,
overlooking Newcastle Beach.
PS Great exhibition at Manly!
Sue Stewart
E: sue@ceramicartist.com.au
qld far north
Cairns Potters Club (C PC) received an interesting
exhibition report from Cairns Regional Gallery for
Melting Pot 2011 , the 10th Biennial National
THE IOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 135

Australia Wide
Ceramics Exhibition held 29 July - 18 September.
The exhibition had 8253 visitors, including 23
school visits. There were 336 comments in
the visitors book -143 from overseas visitors,
129 from interstate and 64 locals commenting
positively on the professional works and the
excellent diversity of the display. The artist
with most comments was Judy Richards with
her work, Sisters Under The Skin . Of the 54
exhibits (four from interstate), both ceramics and
glass, 18 were sold, with the club earning 33%
commission on sales. Despite the hard work, it
appears to be well worth the effort as it helps
people realise that creative ceramic artworks are
still being made in the Cairns region and that the
club is there to help all ceramic artists. Another
National Ceramics Exhibition is planned for 2013
with hopefully more participation from interstate
artists. For more information, go to
www.cairnspottersclub.net.
Lone White
E: lone@tpg.com.au
qld south east
The Gold Coast Potter's Association has a new
website, www.goldcoastpotters.com. as well
as a Facebook page. Our annual fundraising
Empty Bowls event is on in June and we would
appreciate donations of ceramic works for our
online worldwide auction! Every cent raised from
the auction goes to feeding the homeless and
needy. Contact Lyn via email, romeo-whisky@
bigpond.com, for details.
Congratulations to Megan Puis, winner of
the Bribie Potters' Clay Creations 13th annual
competition and exhibition for Best Wheel
Thrown Work.
After joining fifty selected ceramic artists
worldwide in Ganjin, Korea in 2011, Michaela
Kloeckner has now been invited to the Ceramic
Symposium to be held in Switzerland in May.
Check it out at www.toepferschule.ch. Michaela
has also been accepted to exhibit at the Pacific
Rim International in Seattle in March.
Kathryn Mitchell is a young emerging ceramic
artist now based on the Gold Coast. W ith five
stockists in OLD, selling at local arts markets, and
her new online store, 2012 is set to be a busy
year for Kathryn. She also exhibits at the GC
Potters Gallery, Clay Art Benowa. Check her out
at www.kathrynmitchellceramics.com. Together
with Michaela Kloeckner, Kathryn will participate
in The Art of Spain in June, a group show at
19 KAREN Contemporary Artspace in Mermaid
Beach; www.19karen.com.au.
Nerang Respite clients (many with severe
disabilities) recently won the Monte Lupo
National Ceramic Art Award with their large clay
mosaic mapping out the 'street where I live'.
Their motto is terrific - We may not have it all
together, but together we have it all. Well done!
We mourn the passing of two much-loved art
patrons. Ruth Lyons, who passed away recently
aged 90, was the driving force behind the Gold
Coast Arts Centre and the International Ceramic
Art Award. Art identity and 'capitalist hippy' Di
Searle passed away on 27 December. She did
much to help many in the arts and crafts to
establish their careers through her galleries and
personal encouragement.
Entries close for the 8th Gold Coast International
Ceramic Art Award on Friday 15 June. Go to
www.ceramicartaward.com for entry details.
Happy potting, Lyn Rogers
E: romeo-whisky@bigpond.com
qld townsville
2012 is going to be a big year for the North
OLD Potters' Association (NOPA). Our 40th year
anniversary celebration coincides with hosting
the Townsville Ceramic Awards 9-25 November
2012, with Janet Mansfield as judge. A call for
entries is now being advertised. Planning for
workshops and building a soda kiln will ensure a
memorable year ahead.
On a less joyous note, NOPA received news
that our local Barrier Reef TAFE is no longer
offering classes in ceramics and sculpture. This
is particularly distressing as approximately five
years ago, James Cook University, Townsville,
ceased to offer cerami cs. Early members of NOPA
were instrumental in establishing the Certificate
and Diploma courses at TAFE back in 1976. We
are now liaising with the TAFE in an endeavour
to continue delivering award ceramic classes
through our workshop.
Sharon Jewell
E: sharon-jewell@hotmail.com
1)6 THE tOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

Australia Wide
sa
JamFactory Ceramics Studio welcomes two new
associates this year, Alison Smiles (after study
in the UK) and Ulrica Trulsson, who has just
completed a mentorship w it h Vipoo Srivilasa. The
ceramics studio also welcomes Peter Sharrock to
the Indigenous Mentorship Program. He hopes to
develop a range of slipcast work for retail as well
new pieces for exhibition. The program gratefully
acknowledges the assistance of ArtSA. Christina
Gollan and Daisybell Virgin had pieces exhibited
as part of the 2011 Indigenous Ceramic Art
Award at the Shepparton Art Museum.
February brought wonderful and highly
anticipated exhibitions of new work to Adelaide.
At BMGART, we enjoyed Stephen Bowers'
Larks Tongues in Aspic and Simone Fraser's
New Work, whilst at Jam Factory exhibitions by
Penny Byrne, Art of the Possible, and Pippin
Drysdale Desert Crossing featured. Tamara Hahn
exhibited a new body of porcelain work called
Connections in the JamFactory Atrium, and
Angela Valamanesh will exhibit new work from
26 April to 27 May at Greenaway Art Gallery.
Preparations continue for what promises to be
an enthralling and engaging 2012 Australian
Ceramics Triennale (ACT) in Adelaide. See pages
130-131 in this issue of JAC for details of the
exhibitions on during the Trienniale.
The JamFactory was abuzz with preparations
for the Ceramics Auction to raise money to
support the ACT. The night was a huge success
with all platters selling. Thank you to all who
painted a platter. Special thanks to Stephanie
James-Manttan, Wayne McCara who organised
the wonderful catering, Prue Venables, David
Pedler and all the associates, members of the
studio, and volunteers from UniSA, ACArts and
JamFactory who donated their time. Thanks also
to JamFactory and CraftSouth for their generous
assistance, and Jeff M incham, most excellent MC
for the night.
Future SA reports will be written by Sophia
Phillips. Please email Sophia with any news or
updates; E: sophia@sophiaphillips.net
tas
Our annual exhibition last November was a
great success - perhaps not in terms of sales
but definitely in terms of the number, variety
and quality of the exhibits. There appears to be
a general consensus that a themed exhibition
works well. It was certainly a pleasure to read
the individual artist statements alongside each
exhibit, showing how each of us related to the
.. Lasting Impression" theme. The Tasmanian
Ceramics & Pottery Supplies Award for Excellence
went to John Watson (yours truly) for Last
Retreat. Derwent Ceramic Supplies Highly
Commended Award for a functional ceramic
work went to Cath Wyllie for Seascape. Derwent
Ceramic Supplies Highly Commended Award for
a non-functional ceramic work was awarded to
Dawn Oakford for Vespers and the Artery award
for the People's Choice went to Dorice Griffiths
for Leaves.
The Empty Bowls project was a great success,
with 180 bowls made by polytechnic students
and TCA members filling two tables. Four
varieties of beautiful soup, made by ten chefs,
filled the bowls and donations of bread, fruit
and beautiful cello music made it more than just
a bowl of soup. The ceramic component of the
project was co-ordinated by Jude Maisch, one of
our long-serving committee members, and the
event generated $3500 for the Save the Children
East Africa Appeal and a local food service to
homeless people.
As I write, our workshop program is about to
start with one from Michael Stephan, whose
radical approach attracted much interest at last
year's Woodfire Tasmania event. A visit to the
studio of sculptor Stephen Walker is shortly to
follow. Our annual exhibition this year will be an
anniversary, entitled Forty Years in the Making.
John Watson
E: john@dmink.net
vic
It was exciting to see the quality and variety
of work presented for the Stonehouse Gallery
Tertiary Ceramic Student Encouragement
Award in February 2012. This is an annual
award with two students from each Victorian
tertiary institution selected to participate. Once
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 137

Australia Wide
again, Anna Maas was the judge and as well
as speaking about the work at the opening.
Anna spent time talking to and mentoring
each student. The overall winner was Michelle
Jackson. The award has been extended by the
sponsorship of ceramics suppliers with awards
for ceramics excellence going to Michael Barrett
(Clayworks Award), Cinda Stevens (Potters
Equipment Award), Marlize Myburgh (Northcote
Pottery Award), Tania Jeffery and Helen Plesar
(Tetlow Kilns and Furnaces Awards), Matthew
Briscoe (GE&GE Kilns Award) and Jacqui-Rae Cai
(Walker Ceramics Award).
The Pottery Expos at Federation Square and
Warrandyte have proven to be great selling
venues offering excellent exposure for Vidorian
and visiting potters. The Federation Square
Expo in December was well attended, sales
were good and it was a great opportunity to
interad with the buying public, both new visitors
and many return customers. Several tertiary
colleges showcased their students work and
a number of students had their own displays.
Holmesglen TAFE graduating students took the
opportunity to exhibit their final folio of work.
The Warrandyte Expo on the riverbank at the end
of February is a completely different, but highly
successful venue. Held over two days it has more
of a festival atmosphere with visitors enjoying the
music, adivities and the walk along the river.
A ceramics exhibition, Then and Now, to
be held in the Whitehorse Art Space, w ill run
through March to 14 April. Curated by guest
curator Sue McFarland, the exhibition will
profile the development of creative pradice by
ceramicists represented in The City of Whitehorse
and Ceramics Vidoria Colledions. For more
information, go to www.boxhilltownhall.com.au .
The Studio @ Flinders is calling for expressions of
interest for their winter and spring exhibitions.
Their Melbourne Annual Easter Teapot
Exhibition will run from 31 March to 22 April.
If you would like to participate in the exhibition,
email art@studioflinders.com.
Glenn England
E: glennenglan@optusnet.com.au
wa
In the pre-Christmas weeks, the ceramics
community was full tilt. Guildford Village Potters
celebrated their 3D-year history with a lovely
exhibition, including work by Carol Watson,
Cathy Day, Helen Whitehead, Val Paton, Bernie
Wakefield, Anne Fowler and Helen Dundo.
Similarly, Clay Feet marked their tenth year with
a show at the Old Bakery Gallery, Maylands,
opened by founding member, Andrea Vinkovic,
with work by former and current members -
such as Jillian Archibald, Elaine Bradley, Pauline
Mann, Narda McMahon and Gill Treichel.
Fremantle Art Centre's big weekend annual
Christmas event, Bazaar, included the CMWA
stall with Sandra Black, Cher Shackleton, Di Sigel,
Sheryl Chant, Jackie Masters, Natalie Adon and
Greg Crowe. Other CMWA folk with stalls were
Pip Gordon, Stewart and Trish Scambler, Fleur
Schell, Karen Davey, Njalikwa Chongwe and
Mel Sharpham. In December, numerous artists
opened their studios with great success - Sandra
Black, Janis Heston, Cher Shackleton and Stewart
Scambler among them, one comparing the bustle
to 'the running of the bulls' on occasion - not at
all a bad complaint!
Stewart Scambler has been working on the
restoration of the Joan Campbell bollards (local
Fremantle landmarks). The projed includes glaze
matching and remaking a quantity of tiles.
The CMWA committee is preparing for the
hotly anticipated POTober in Odober 2012 with
guests Malina Monks, Merran Esson and Royce
McGlashen, plus a smorgasbord of local talent.
Curtin University has finally closed leaving WA
with no university degree courses including
ceramics, apart from units for trainee teachers
at ECU . Some Curtin equipment was donated to
Fremantle Arts Centre for the new ceramic studio
to open there in 2012.
Jenny Dawson received two major commissions
for ceramic murals, one in Port Hedland (for
Rio Tinto), the other for Maddington railway
station in Perth. Both projeds were created in
collaboration with Indigenous artist Sandra Hill.
Elaine Bradley
E: lalab@iinet.net.au
138 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

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'40 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

Stockists
ACT
canberra potters society
1 aspinal st watson
national gallery of australia
bookshop parkes pi canberra
walker ceramics
289 canberra ave fyshwick
NSW
art gallery of nsw
art gallery rd the domain
sydney
bathurst regional art gallery
70-78 keppel st bathurst
bellingen newsagency
83 hyde st bellingen
blackwattle pottery
20 stennett rd ingleburn
brookvale ceramic studio
1119 powellsrd brookvale
coffs harbour pottery supplies
8 primrose ave mullaway
essentialobiect
65 andy poole drv tathra
gaffa
281 darence sl sydney cbd
gleebooks
131 glebe point rd glebe
hazelhurst regional gallery
782 kingsway gymea
inner city clayworkers gallery
cnr st johns rd & darghan sl glebe
keane ceramics
177 debenham rd south somersby
kerrie lowe gallery
49-51 king st newtown
lake macquarie art gallery
la first st booragul
moochinside
111 killcare rd hardy's bay
museum of contemporary art
140 george st sydney
new england regional art
museum
kentucky st armidale
northern rivers pottery supplies
54d terania st north lismore
nsw pottery supplies
411159 arthur sl homebush
nulladulla potters
princes hwy milton
object gallery
417 bourke st surry hills
oxford art supplies and books
145 victoria ave chatswood
planet
114 commonwealth st surry hills
port hacking potters group
po box 71 miranda
potters' needs
75 curtis st oberon
sabbia gallery
120 glenmore rd paddington
sturt craft centre
range rd mittagong
NT
museum and art gallery of the nt
conacherst fannie bay
QlD
cairns regional gallery
cnr abbott and shields sts cairns
gold coast city gallery
135 bundall rd surfers paradise
north queensland potters
association
15 flowers st townsville
pottery supplies
5 t castlemaine 51 milton
queensland art gallery
stanley pi south bank
the day shed
2124 hi-tech dve kunda park
SA
art gallery of south australia
north terrace adelaide
bamfurlong gallery
main st hahndorf
browns of burnside
shop 7/447 portrush rd glenside
the pug mill
17arosest mile end
TAS
derwent ceramic supplies
16b sunderland st moonah
VIC
artisan books
159 gertrude st fitzroy
avenue bookstore
127 dundas place albert park
bendigo art gallery
42 view st bendigo
brunswick bound
361 sydney rd brunswick
clayworks
6 johnston crt dandenong
craft victoria
31 flinders lane melbourne
macedon ranges potters
33 yellow gum blvd sunbury
national gallery of victoria
180 st kilda rd melbourne
new leaves
cnr anslow and collier SlS woodend
northcote pottery supplies
142-144 weslon st brunswick east
potier
29 mills st albert park
potters equipment
13142 new st ringwood
readings books
309 Iygon st carlton
readings books
112 aeland st st kilda
red hill south newsagency
shoreham rd red hill south
rmit bookshop
330 swanston st melbourne
shepparton art gallery
70 welsford st shepparton
the brunswick street bookstore
305 brunswick 51 fitzroy
WA
fremantle arts centre
1 finnerty 5t fremantle
geraldton regional art gallery
24 chapman rd geraldton
graham hay
robertson park artists studio
northbridge
jacksons ceramics
shop 4, 30erindale rd balcatta
perth institute of contemporary
art
perth cultural centre james street
northbridge
potters market
56stockdalerd o'connor
NEW ZEALAND
lopdell house gallery
418 titirangi rd waitakere city
NEW STOCKISTS WANTED!
Please contact the office if you
have a suggestion for a new
stockist; T: 1300 720 124
E: mail@australianceramics.com
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 141

Books & DVDs
OntheShelf
More books are available on www.australianceramics.com
1. The Art of Woodfire
- A Contemporary
Ceramics Practice
by Owen Rye
This book illustrates the
work of more than 24
Australian ceramic artists.
Owen Rye discusses his
perspective on woodfiring,
its technical
aspects and the aesthetic
possibilities.
AU 5110
2. Slab Techniques by Ian
Marsh and Jim Robison
Covers all the basics. such as
making your slabs, joining
techniques, simple building
methods. use of supports,
creating textures, decorating
with slips and ways to avoid
disasters during firing.
AU 539.95
3. Introducing Pottery
The Complete Guide
by Dan Rhode
OHers a complete course
in pottery, explaining all
you need to know to get
started from where clay
is found to preparation
for use and in·depth
description of methods of
making.
AU 545
4. A Potter looks for God:
The Energy of Evolution
by Bernard Sahm
Hardback; 215 pages; 8&W
and colour illustrations; A
series of essays which tackle
some of the deep spiritual
questions, along with his views
about human beings accepting
personal responsibility for their
actions.
AU 530
GLAZES
co ....
tIW C/DIW '
DVD
DVD
5. The Electric Kiln
by Harry Fraser
Written tor the craft
potter, studio, amateur, or
professional, this book is
a comprehensive guide to
the selection. installation,
use and maintenance of
electric kilns in studios
and schools.
AU 539.95
6. Glazes Cone 6
by Michael Bailey
This illustrated book
provides many base glaze
recipes for the popular
temperature 1220-1240"(
and ranging from shiny
to matt tt explores the
chemistry behind glaze
formulation, special effects
glazes, single firing and
brush·on glazes.
AU S40
7. The Leach Pottery
1952
OVO, 32 minutes.
B&W with narration by
American potter Warren
Mackenzie; 17 minutes
of bonus footage taken
at the pottery in 1952;
14 page booklet by Shoji
Hamada.
AU S40
ORDER FORM
ITEM; lD 2D 3D 4D sD 6D 7D sD
8. Ben Richardson •
Fire Works OVD and
booklet
This DVD and 38 page
booklet. published in
April 2010, examines,
challenges and celebrates
Ben Richardson'S
dedication to making
site·specific. wood· fired
ceramics; 24.5 minutes.
AU 545
All prices include GST and postage
within Australia.
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_______________________________________
Postcode _______ Count/)' ____________ _
Phone _______________________ Email _____________________________________ _
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Card Number DDDD DDDD DDDD DDDD
Expiry Date D D D D Total 1 ____
142 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2Ot2
The Australian CeramICs ASSOCIation
PO Box 27d Waverley NSV~ 2024
T 1300 no 124, E rnail@a ... stra!'='HlCNdrr"c"com
.v\'vv. austral d('!(t."faml(~ com

Classifieds
CERAMIC SUPPLIES
CUSTOM DECALS
By using state of the art digital printing technology, Decal
Specialists can produce high quality Custom Ceramic Decals
from original artwork. The decorative possibilities with
Custom Decals are only limited by your imagination!
Check out our website: www.decalspecialists.com.au
T: 1300 132 771: E: enquiries@decalspecialists.com.au
KERRIE LOWE GALLERY
Sydney inner city pottery supplies: Keane's Clay - discount
on 5 bagsll0+ bags; Southern Ice Porcelain; Museum Gel;
Chinese Decals; Wide range of tools, glazes, underglazes;
Kerrie Lowe Gallery, 49 King St, Newtown 2042
T: 02 95504433 E: lowekerrie@gmail.com; Mon to Sat,
lOam - 5.30 pm; Thurs until 7 pm.
NORTHCOTE POTTERY SUPPLIES
Northcote Pottery Supplies sells a range of quality pottery
materials including clay. glaze, tools and equipment for
the student, hobbyist and professional. We run a range
of classes and workshops for those interested in furthering
their skill and knowtedge in ceramics. We oHer a firing
service, studio access and residency program, as well as
housing SMALLpieces, a space showcasing contemporary
Australian ceramics. 142-144 Weston Street Brunswick East
3057; T: 03 9387 3911; F: 03 93874011
www.northcotepottelY.com.au
ON-GLAZE/CHINA PAINTING SUPPLIES
Gold Coast China Painting Supplies is one of Australia's
largest suppliers of china painting products. We supply
on-glaze paints, painting mediums, lustres, gold, brushes,
tools and specialty decals. Please contact Sandra to discuss
requirements, technical information or to request a full
product listing; T: 07 5597 0859; E: sandra@goldcoastchina.
com.au; lNWW.goldcoastchina.com.au
POTTERS EQUIPMENT PTY LTD
Quality supplies and friendly service; A wide range of clays
and colours, kilns, wheels. slab rollers, pug mills, extruders,
all sorts of accessories, materials, glazes and tools.
Shop 13/42 New St, Ringwood VIC 3134
T: 03 9870 7533; F: 03 9847 0793
POTTERS NEEDS
Sound technical adVice. kiln repairs and maintenance;
Clayworks', Walker's and Keane's clay; pottery equipment
and tools; delivelY to your door; short courses and regular
specialist workshops; friendly personal service.
Potters Neecs Gallery, 75 Curtis St, Oberon NSW 2787
T: 02 6336 041 1; F: 02 63360898; M: 0418982 837
E: info@pottersneeds.com.au; .WWW.pottersneeds.com.au
TETLOW KILNS & FURNACES PTY LTD
One of Australia'S most experienced kiln and furnace
manu-faourers; Australia's largest range with 40 standard
sizes, custom sizes on request; Clean, efficient electric and
gas kilns and furnaces; made in Australia. environmentally
friendly. 12 George St, Blackburn VIC 3130
T: +61 (0)39877 4188; F: +61 (0)398941974
E: info@tetlow.com.au; WVIIW.tetlow.com.au
THE PUG MILL
All underglazes at one low price of S32.45 per 500ml bottle,
including Bright Rocket Red. We stock over 150 different
coloured Chrysanthos underglazes, one strokes and Cafe
colours as well as a stunning range of Fantasy Crystal Glazes.
All products are lead free and suitable for school use. Please
contact us for a colour chart; 17 A Rose St, Mile End, SA
5031; T: 08 8443 4544; E: pugmill@pugmill.com.au;
'NWIAI.pugmill.com.au.
_
VENCO PRODUCTS
Manufacturers and exporters of high quality pottery
equipment. Venco manufacture a range of pug mills with
output capacities, suitable for schools and studios through
to high capacity industrial units. Venco pottery wheels are
world regarded for quality and reliability.
T: +61 (0)893995265; F: +61 (0)894971335;
WI/IMI.venco.com.au
WALKERS CERAMICS
A full range of ceramic supplies - clays, glazes, colours, raw
materials, tools, brushes, equipment, kilns. wheels. books
and kiln furniture. We are manufacturers of Walker Ceram·
ies, Feeneys Clay and Cesco clays. glazes and colours. Go to
our website for full product information including methods
of use, application and faults and remedies, our Pottery &
Ceramic Handbook. Melbourne price list, Canberra price list
and Feeneys Clay price list. At Walker Ceramics and Feeneys
Clay, our aim is to use. from Australian sources, the best
quality raw materials to produce our own range of bodies,
glazes and colours for all aspects of ceramic production.
Walker Ceramics and Feeneys Clay, m 1 Research Drive,
Croydon South VIC 3136; T: 03 B761 6322; f : 038761
6344; Toll free : 1800 692 529/1 BOOOZCLAY; E: sales@
walkerceramics.com.au. orders@v.Jalkerceramics.com.au
www.walkerceramics.com.au
GROUPS
CERAMIC STUDY GROUP Inc
Come and join uS at one of our monthly meetings where we
invite guest demonstrators covering a range of aspects relat·
jng to clay. Become a member and gain access to our library
offering up-ta-date books, magazines and DVDs, plus our
woodfired kiln at Oxford falls. We publish a monthly newsletter
and we are an ideal forum for experienced potters, as
well as beginners and students wishing to learn more and
network; E: csgsecretary@hotmail.com
www.ceramicstudygroup.org.au
MOULD/MODEL MAKER
SPECIALIST IN PROTOTYPE AND MOULD-MAKfNG for
ceramic mass production and artworks. Ceramic design
service also available. Contact Somchai T: 02 9703 2557
M: 0401 359 126; E: eatandclay@gmail.com
OPPORTUNITIES
BRIBIE ISLAND COMMUNITY ARTS CENTRE
Banksias to Beach Arts Festival July 2012
Our biennial Arts Festival is happening once again from 14
- 29 July. A list of tutors and timetables is available on our
website. All who participated in our first festival in 2010 had
nothing but praise for this exciting event. For more details.
phone: 07 3408 9288, email: festival@bribieartcentre.com.
au or www.bribieartcentre.com.au
THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012 143

TOWNSVILLE CERAMIC AWARDS 2012
Entries are invited to the Townsville Open Awards to be
exhibited at Perc Tucker Regional Gallery, Townsville 9-25 November
2012. Award, to the value of S I 0,000, with a major
award of S5,000 to be judged by Janel Mansfield. Closing
date for entries is 8 Odober 2012.
E: nqldpotters@yahoo.com.au
WILOGRAIN HANDMADE GALLERY
Join a growing group of artisans and gain access to more
customers online. The WHG website works like a digital col~
our magazine with your website, email, postal address and
phone numbers so customers can contad you direct. Introductory
offer: S250 per year, includes 4 product images and
40 words; contact Phillip on 0417 580 658; E: wildgrain@
hotmail.com; www.wildgrainhandmadegallery.com.au
PHOTOGRAPHY
GREG PIPER IMAGING SOLUTIONS
Providing ceramic artists with digital and traditional
photographic imagery, as well as graphic design to print or
eledronic media; an Associate AIPP (Australian Institute of
Professional Photographers) with over 30 years experience
in various advertising, corporate and government projects;
previously (for eleven years) inaugural manager of the
photographic/multimedia unit at the Powerhouse Museum in
Sydney; Drummeyne NSW 2047; T: 02 9181 11 88
M: 041 1 107744; E: greg@gregpiper.com.au
www.gregpiper.com.au
PLINTHS
PLINTHS MADE TO ORDER
Affordable, designed for structural integrity, lightweight;
also for hire. Roger Fenton, St Ives NSW
T: 02 9488 8628; F: 02 9440 1212; M: 04 17 443 414
WORKSHOPS , SEMINARS
HOT TO POT WORKSHOPS
at Moonshill, Tarago, near Goulburn
26 & 27 M ay 2012 (Sat & Sun) - Saggar and Smoke: two
related one day workshops; low temperature fi rings tor soft
and ,ubtle colours; S88 for one day, $165 for both.
800kings are essential. Contact Jane, T: 02 6161 0806
E: janecrkk,@dodo.com.au; www.janecrick.netfirms.com
THROWING + GLAZES + FIRING CLASSES
Classes for beginners to advanced with Gary Healey
clay/projects chosen to ,uit skill levels; Balwyn, Victoria
TIf: 03 98 163012; E: ashglazes@gmail.com
www.garyhealey.com
AUSTRALIAN GALLERY DIRECTORY
INNER CITY CLAYWORKERS GALLERY CO-OP LTD
ClaY'Norkers invite all former members of the cooperative
to join in a celebration of 30 years of making and selling
ceramics. The exhibition will be held 30 Oct - 2S Nov ' 12
Cnr St Johns Rd and Darghan St, Glebe NSW 2037
TIf: 02 9692 9717; www.clayworkers.com.au
KERRY LOWE GALLERY
Contemporary Australian ceramics and pottery supplies
located in inner city Sydney. The gallery features functional
ware, vessels, sculpture and jewellery by emerging and
professional ceramic artists; 49-51 King 51. Newtown NSW
2042; E: lowekerrie@gmail.com, V\fV\I\N.kerrielowe.com
NATIONAL EDUCATION DIRECTORY
CHISHOLM INSTITUTE, VICTORIA
The Diploma of Ceramics is a skills-based course delivered
by specialist staff in a well resourced studio. Studies in
all aspects of ceramic process and design, and first hand
experience with firing a wide variety of kilns, as well as
diverse arts business strategies. provides students with
a solid foundation from which they can build careers as
independent arts practitioners. Contact Judith Roberts,
T: 03 9212 5398; E: judith.roberts@chisholm.edu.au
HOLMESGLEN TAFE
Holmesglen Chadstone Campus; Diploma of Ceramics
The scope and vision of our Diploma of Ceramics Course at
Holmesglen is to prepare students for a career in ceramic art
We provide a profesSional, well equipped studio environment
and the staff are recognized, practiSing artists. Our aim
is to inspire individual development and encourage ongoing
levels of inquiry.
Kim Martin, Course Coordinator of Ceramics and Visual Arts,
T: 03 9564 1942; www.holmesglen.edu.au
HUNTER TAFE - CREATIVE INDUSTRIES
Newcastle Art School offers a range of flexibly delivered
Ceramics programs. All aspects of ceramics are explored -
technical, practical and theoretical, and individual learning
programs are developed for each student Dedicated staff
include Paul Davis, Sue Stewart, Helen Dunkerley and Jo
Davies, all professional exhibiting ceramists.
The Ceramics Department has well equipped studios, a
gallery and specialist library on site. The campus is located in
the cultural precinct and is within walking distance of seven
galleries. See WWIN.newcastleartschool.com.au. Contact Sue
Stewart, heather.f.stewart@tafe.nsw.edu.au or Paul Davis,
paul.davis42@tafe.nsw.edu.au
LA TROBE UNIVERSITY BENDIGO CAMPUS
Ceramics as a major study is offered on the Bendigo campus
in the Bachelor of Visual Arts course at La Trobe Visual Arts &
Design. Honours is offered to high achieving students wishing
to develop their practice to an advanced level,
allowing entry into post graduate Masters or PhD by
research within ceramics. Contact Tony Conway,
T: 03 5444 7217; E: a.conwayClatrobe.edu.au
TAFE NSW - NORTH COAST INSTITUTE, LISMORE
Certificate, Diploma and Advanced Diploma Courses in
Ceramics. Courses require application.
Enquiries: John Stewart, T: 02 6623 02t8
E: john.stewart@tafensw.edu.au
TAFE NSW - NORTHERN SYDNEY INSTITUTE
Hornsby and Northern Beaches College offer accredited
qualifications from Certificate to Advanced Diploma levels as
well as short specialist programs for both the beginner and
advanced ceramicists. For more information,
E: nsi.ceramics@tafensw.edu.au. For general course and
program enquiries call 131 674 or go to
WtNW.nsLtafensw.edu.au
TAFE NSW - SYDNEY INSTITUTE, GYMEA
Certificate and Diploma courses in ceramics - full and
part-time attendance; now offering Advanced Diploma
online. enr Kingswayand Hotham Road, Gymea NSW
T: 02 9710 5001; F: 02 9710 5026
vvvwv.sit.nsw.edu . aulceramic~gymea
' 44
THE IOURNAL OF AUSTRALIAN CERAMICS APRIL ZO l Z

Australian Ceramics Tri .....
Adelaide, South

Congratulations
Staff and students of Chisholm Institute Diploma of Ceramics congratulate
JAC for 50 years of support for the ceramic arts. Students have been inspired
by the rich parade of images and articles. We also appreciate the particular
support for emerging artists. through the publication of education practice
around the country. www.chisholm.vic.edu.au
•
'.
Australian
National
University
Great informative articles
and offering wonderful
support to Australian
ceramicists for 50 years.
Thank you! from the
Ceramics Workshop @ ANU
www.anu.edu.au
BENNETTS POTTERY
50 years - a proud achievement, congratulations!
www.bennettsmagillpottery.com.au
BLACKWATTLE POTTERY
The only ceramics magazine dedicated to Australian ceramicists.
Keep up the good work!
www.blackwattle.net.au
CERAMIC STUDY
GROUP Inc.
Congratulations JAC on your 50th year
of giving clayaholics their regular shot of
enthusiasm, inspiration and information .
www.ceramicstudygroup.org.au
A superb publication -
well done on turning 50!
Keeping ceramics alive and exciting -
all the very best to JAC!
www.decalspecialists.com.au
www.sit.nsw.edu.au/ceramics.gymea
ALL
HAND
MADE
GALLE RY
The Journal of Australian
Ceramics has played a valuable
part in showcasing Australian
studio ceramics over the last
50 years. Well done to all. from
Helen Stephens !
holmesg en
The Journal is an inspiration
to teachers and students alike.
Well done!
www.holmesglen.edu.au
JAPAN CRAFTS
Fantastic achievement! All the
best for the future.
www.japancrafts.com.au
www.allhandmadegallery.com
146 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

---------
Congratulations
GREG PIPER IMAGING SOLUTIONS
Congratulations to Vicki and her team for a wonderful publication that has improved over the years, and gets
better and better. Well done to all! I appreciate being part of that team when high quality photography is
required.
www.gregpiper.com.au
KEANE
CERAMICS
What a milestone!
Congratulations to all who
have worked so hard over
the many years to keep the
magazine alive and kicking for
us all to enjoy.
www.keaneceramics.com.au
KERRY LOWE
GALLERY
Consistently and superbly
showcasing ceramics -
well done'
www.kerrielowe.com
Many thanks for 50 years of
ceramic education. Looking
forward to the next 50!
www.latrobe.edu.au
ooaD DO
0 OO~ Congratulations on your huge
Gallery achievement and all the very best from
our team to yours, cheers!
www.manningham.vic.gov.au/gallery
.:::=' ,.,=11
• ••••• 100."1 I;OUT
••••• UI."IUll1
Top class achievement! Keep up the good work.
www.northcoast.tafensw.edu.au
Thanks for 50 great years of
support and congratulations
from the Ceramics
Department, National Art
School.
www.nas.edu.au
•
~
·;.;..:Discoveringltaly _
Congratulations to The Journal
of Australian Ceramics on 50
years of fantastic eHorts to
educate, conned and document
the ceramic community in
Australia!
www.planetfurniture.(om.au
Congratulations on 50
fabulous years! The world of
ceramics lives on with your
journal.
www.porthackingpotters.
blog.pot.com
VICTOR
GREENAWAY
Discovering Italy is very pleased
to be able to congratulate JAC
on 50 fabulous years.
www.victorgreenaway.com
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 147

Congratulations
-----
During the last 26 years of your 50 we have taken many Australian ceramic
artisans to meet fellow artists in Japan and Burma and we look forward to helping
you get behind the scenes on future tours.
www.toursgallery.com
~- ~-i:~ sa b b i a ga l I e ry
Sabbia would like to wish
everyone at The Journal of
Australian Ceramics heart
felt congratulations on
the amazing achievement
of 50 years of quality and
important publishing.
www.sabbiagallery.com
Potters
Needs
Congratulations! Your
magazine has played an
important role in the ceramics
community over the last 50
years.
www.pottersneeds.com.au
Happy Birthday from one
great team to another.
www.pugmill.com.au
POTIER'S MARKET
The Journal of Australian Ceramics - the place to be seen!
Congratulations!
T: 08 9337 6888; E: julie@thepottersmarket.com.au
O'Connor, Western Australia
Congratulations to the Journal
on reaching such an important
milestone - those 50 years plot
so much of Australia's craft
history.
www.sturt.nsw.edu.au
Congratulations on your 50th anniversary and continuing support of
individuals and ceramic organizations across Australia.
www.5uncoastclayworkers.org.au
TctIO\\ Kilns
& I-urnaccs 1_11_1
Ply Ltd .~ , I
Congratulations JAC on all
you have accomplished!
www.tetlow.com.au
WORKSHOPS ART
CENTRE
To all the team and
contributors over the years -
WELL DONE!
www.workshoparts.org.au
BON
ANNIVERSAIRE
ZESTE FRENCH
TOURS
congratulates The Journal
of Australian Ceramics for
50 years of informing and
enriching Australian ceramic
artists.
www.zestefrenchtours.com
148 THE 10URNAL OF AUSTRALIAN CERAMICS APRIL 2012

quality pottery supplies and services
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(PH) 0393873911
www.northcotepottery.com.au

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ISO THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

Ceramic Design Studio
www.sit.nsw.edu.au/ceramics/gymea
Why not enquire about our new Master Classes!
Studio-based courses
Full and part-time
Wheelwork Tableware
Handbuilding Sculpture
Contemporary Installation
Mouldmaking & Casting
Decorating Techniques
Glaze & Kiln Technology
Raku & Woodfiring
CERAMIC
DESIGN
STUDIO
Image: Nicky Parra ,
Photography: Sliver .. lt Photography
enr The Kingsway & Hotham Road
Gymea NSW 2227
Tel: (02) 9710 5001 Fax: (02) 9710 5026
Catherine.Fogarty@det.nsw.edu.au
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 151

TOWNSVILLE CERAMIC AWARDS
At Perc Tucker RegIOnal Gallery, 9-25 Nov 20 12
Celebrating 40 yea" of the NO Polle,,' As,n Inc
Olih-ChiHSU
(IItMn) A dweII;ns
in irI/inire txi8h&lef$
Up to $5,000 in acquisitions :::= ..........
Entry form .. availablf' nnw
www.ceramicartaward.com
Entfies AST '35 Bunda" Rd Sun"" _ Q 42' 7
OTY 07 558' 6567
gaIIeryOtheart:SCenlregc.com.au
GALLERY www.theartscen"egc.oom.au
Entries ore invited to the Townsville Open Awards
Judged by Janet Mansfield
Award" $10,000
Closing dote for entries, 8 October 2012
Entry forms available from
North Queensland Potters' Assn Inc
PO Box 5033, Townsville, QId 4810
e. nqldpotters@yahoo.com.au
t . (07) 4771 5044 Or (07) 4724 3827
152 THE JOURNAL OF AUSTRALIAN CERAMICS APRil 2012

Ceramics I Production I Design
Sculpture I Firing
Diploma of Ceramics
2 years Full Time (Part-time option available)
Ballarat Campus
Internationally renowned artist Neville French
will provide in-depth training in the production
of high-quality, innovative and well-designed
functional pottery, using the latest techniques
in our purpose built facility.
This program qualifies you to work as a studio
potter; gain employment wijhin the ceramics
industry, or wijh retail galleries; or as a pathway
to further Higher Education study.
Bridget Bodenharn "Cracker"
Contact us today
1800 811711
www.baliarat.edu.au cRlcos P ........... No.oo103o
University of Ballarat
Learn to succeed
THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2012 153

Until 17 April 2012
KERRIE LOWE GALLERY
49 King St. Newtown NSW 2042
T: 02 9550 4433 F: 02 9550 1996
E: lowekerrie@gmail.com
www.kerrielowe.com
Mon - Sat lOam - 5.30pm Thurs until 7pm
Join The Austranan Ceramics Association
Facebook page here:
http://tinyurl.com / tacafaceboak
Kiln repairs. maintenance and
restoration by Ian Theyers.
a licensed industrial electrician
Sound technical advice
Friendly personal service
Wonderful range of clays­
Clayworks, Walkers and Keanes
Pottery equipment and tools
Short pottery courses
Regular specialist workshops
New exhibition space -
Potters Needs Gallery
Delivery to your door
Potters Needs is operated by
Victoria and Ian Theyers
Potters
Needs
O Uke
154 THE IOURNAL OF AUSTRALIAN CERAMICS APRIL 2012

NEW No.3
full-sized erl!onomic action pedal
1/2hp motor. 13" wheelhead
0· - ..
venco
\N\N\N.venco. COfl"' i-lU
NEW No.3
stainless steel body option
cliMn work tables and seat also available
THE JOURNAL OF AUSTRALIAN CERAMI CS APRIL 2012 155

Specialist ceramics
training facilities
TAFE NSW - Northern Sydney Institute
Beginners and
professional
ceramicists
are welcome
Come and train in some of
Australia's most outstanding
ceramics training facilities
featuring the latest
professional equipment and
spacious, natural light-filled
design studios.
Both colleges offer fast-track
specialist programs and a full
range of nationally accredited
qualifications which are
available part-time, full-time,
day or evening.
The facilities include:
> Raku kilns
> natural gas and LPG kilns
> electric kilns
> wood fired kilns
> an extra large trolley kiln for sculptural work
Courses include:
> Nationally accredited qualifications
Certificate level III, 1\1, Diploma and Advanced Diploma
> NSI's open studio practice provides access to the NSI studios
and facilities so you can improve your skills by developing
your own work.
Hornsby College
205 Pacific Highway, Hornsby NSW 2077
Northern Beaches College
154 Old Pittwater Road, Brookvale NSW 2100
For more information about the ceramics training facilities
and services available, email: nsi.ceramics@t afensw.edu.au
For general cour~~ , a.np program enquiries:
Call 131 674 or gO'fo www.nsLtaf ensw.edu.au

COLOURS Rockwood Pigments, Cesco,
Walker Ceramics, Clayworks, Deco,
Chrysanthos CLAYS
Bendigo, Bennetts,
Blackwattle, Clayworks, Feeneys, Keanes,
Northcote, Walkers EQUIPMENT
wheels, slab roliers,
ACCESSORIES Brushes, corks,
kiln shelves, etc MATERIALS
and more GLAZES Powder and
Clay tools, Kemper, Giffin Grip and
NEW - Limited supply of Duncan
1'lli'l'P
Merv & Ceramic S ..... SItICIaIIst
CLAYWORKS
DISTRIBUTORS FOR
_rysanthos'
CERAMIC GlAZES, UNDERGLAZES,
CRYSTAL GLAZES,
CRACKLE GLAZES AND MORE
HUGE RANGE OF
BISQUEWARE
TILES, MUGS,
BOWLS, PLATES
AND MUCH,
MUCH MORE.
CLAYWORKS P01TERS SUPPLY PTY LTD
ABN 37006 697 454
6 JobDIIm Crt """"""'"'c VIC 3175 AIIIInIiI
T: 03 9791 6749 F: 03 9'/92 4476
E: cia, ••• @ I ,.a' h8la.cal
www.clo).MI t~
THE IOURNAl OF AUSTRALIAN CERAMICS APRil 2012 157

CLAYS
Blackwattle, Clayworks, Feeney, Leach & Limoges Porcelain
Southern Ice, Walker
CASnNGSUPS
Earthenware, Stoneware, Porcelain, Paper slip
COLOURS" GLAZES
Blackwattle, Cesco, Deco, Kera, Japanese Tissue Transfers
WSTRES
Silver Nitrate, Commercial Gold, Platinum and many popular colours
celebrntin9
:iO ~JC(lrs
in businesS
FIRING SERVICE
Bisque, Earthenware, Stoneware
KILN SUPPUES
•• . -
RAW MATERIALS
•
Sibelco Sydney Distributor, extensive range, bulk discounts
100 grams - 1 tonne
TOOLS I EQUIPMENT
Venco wheels, pug mills, slab rollers, Talisman sieves, raku tongs
FREE ADVICE
30 years potting experience FREE catalogue & price list
MAIL ORDER AVAILABLE
20 STENNETI RD, INGLEBURN NSW 2565
T: 02 9829 5555 F: 02 9829 6055 Mon - Fri, 8am - 4pm Sat, 9am - 12pm
www.blackwattle.net.au
...................... , .................. ..... ................................................ ................................................ ....... .

PORT HACKING POTTERS GROUP
A Division of Cronulla School of Arts Inc.
50th Anniversary of the
Port Hacking Potters Group
presents the
Inga Svendsen
47th National Pottery Competition and Exhibition
at the Hazelhurst Regional Gallery and Arts Centre
Gymea NSW
22 September - 3 October 2012
To be judged by Greg Daly
For entry forms and information:
PO Box 71 Miranda 1490 T: 0407 229 151
Email: pottersgroup@hotmail.com
ENTRY FORMS DUE BY 14 SEPTEMBER 2012

Under the Surface:
creativity and mark making "
A two-day workshop with Shannon Garson
Sat 4 + Sun 5 August 2012
Maleny Arts & Crafts Group
38 Maple St, Maleny OLD
TACA is offering a winter workshop with
Shannon Garson in her beautiful hometown
of Malenv on the Sunshine Coast hinterland.
Participants will use drawing and surface
techniques to explore ceramics as a form of
self expression.
: '
.I
, , . . --
~
I
$290 per person ($270 members of TACA)
Fee includes a delicious vegetarian lunch at
Shannon's home and a visit to her studio.
www.shannongarson.com
For further information and bookings: The Australian Ceramics Association
T: 1300 720 124 F: 0293693742 E: mail@australianceramics.com www.australianceramics.com
We've got you Govered!
Teatowel $15
Potter's apron $30
Delivered fresh to your door.
1300720124
mail@australianceramics.com
www.australianceramics.com
,60 THE JOURNAL OF AUSTRALIAN CERAMI CS APRil 2012

Feeneys
Clays
WALKER
~
Clays Glazes Colours
Cesco
Glazes & Colours
Greg Dalv, First Light, 2011, lustre-glazed earthenware
d,am.72cm, d 7cm; photo: Stuart Hay
Service and Supplies
03 8761 6322 1800 692 529
sales@walkerceramics.com.au