The Journal of Australian Ceramics Vol 51 No 1 April 2012

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