The Journal of Australian Ceramics Vol 51 No 2 July 2012

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<strong>51</strong>2<strong>July</strong> 201

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Co ntents<br />

<strong>Vol</strong>ume <strong>51</strong>2<br />

<strong>July</strong> <strong>2012</strong><br />

$16<br />

Cover<br />

Deanne Gilson<br />

Bunjil Creation Story (detail)<br />

201 1, earthenware, paperclay<br />

011 paInt, varIOUS dimensions<br />

Photo: Matthew" Stanton<br />

Shepparton Art Museum, purchased<br />

with funds provided by the<br />

Margaret Lawrence Bequest, <strong>2012</strong><br />

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

Dates <strong>of</strong> Publication<br />

1 April. t7 <strong>July</strong>. 20 <strong>No</strong>vember<br />

Publisher<br />

<strong>The</strong> <strong>Australian</strong> CeramICS Association<br />

PO Box 274 Waverley NSW 2024<br />

T: 1300 720 124<br />

F: 02 9369 3742<br />

mail@auslralianceramics.(om<br />

WWN.australianceramics.com<br />

ABN 14001 S3S S02<br />

ISSN 1449-275X<br />

Editor<br />

Vicki Grima<br />

Marketing and Promotions<br />

Carol Fraczek<br />

Design<br />

Astrid Wehling<br />

wvvw.astrimvehling.com.au<br />

Subscriptions Manager<br />

Ashley McHutchison<br />

Editorial Assistant<br />

Elisa Bartels<br />

Pro<strong>of</strong>reader. (ontent<br />

Suzanne Dean<br />

Austra lia Wide Reports<br />

Please see reports<br />

for contact details<br />

ACT: Jane Crick.<br />

NSW: Sue Stewart<br />

QLD South East: lyn Rogers<br />

SA: Sophia Phillips<br />

l AS: john Watson<br />

VIC: Glenn England<br />

WA:. Elaine Bradley<br />

Printed by<br />

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4 NOW + THEN<br />



10 SUBVERSIVE CLAY - <strong>2012</strong> <strong>Australian</strong> <strong>Ceramics</strong> Triennale<br />


14 Janet DeBoos: <strong>The</strong> Space Between by Jan Howlin<br />


21 <strong>The</strong> 1989 Lajamanu <strong>Ceramics</strong> Project by Christine Nicholls<br />

28 Mosaicing a Memorial by Leanne Anderson<br />

30 Mapping it Out: Hamish Swain documents a collaboration between<br />

Stephanie Outridge Field and Megan Cope<br />

36 <strong>The</strong> Hermannsburg Potters by John Rigby<br />

40 Ricardo Idagi - <strong>The</strong> Coconut<br />

41 8atchelor Institute gets a new home: Jacki Fleet reports<br />

42 2011 Indigenous Ceramic Art Award: A brief extract from the<br />

catalogue essay by Julie Gough<br />


46 Highly VISIBLE - winning strategies for ceramics departments<br />

by Karen Weiss<br />


52 RMIT: Hybrid Practice: A (brave?) and exciting new craft world<br />

by Sally Cleary, Object Based Practice, RMIT University<br />

56 National Education Pictorial Survey <strong>2012</strong><br />


70 VIEW: Head Land<br />

Rowley Drysdale discusses Stephen Roberts' latest work<br />

74 CERAMICS+: Harmonies and Dissonances<br />

Roy Ananda examines recent work by Wendy Fairclough and<br />

Honor Freeman<br />

78 UP THE YOGA PATH: Yoga in the Pottery Studio<br />

by Kari with Linley Boyle<br />

82 CERAMIC SHOTS: sub-VASE-ive Photographic Competition<br />

83 STUDIO: Impulse and Intuition Helen Fuller on her studio practice along<br />

with an opening speech by Prue Venables<br />

88 WEDGE: Gerry Wedd<br />

89 PROJECT: Crumbling Ecologies<br />

Jasmine Target! ponders on whether we can grow something<br />

new in the crafts<br />

92 JOIN THE POTS: from the JAC Archives, Janet DeBoos<br />

94 TRADE: Artist Run Initiatives around Australia compiled by Elisa Bartels<br />

96 ARTIST IN RESIDENCE: Expectation and Experience<br />

Christopher Headley reports on the AIR Program at the Yingge <strong>Ceramics</strong><br />

Museum in Taiwan<br />


101 VIEWED + READ: DVD review by Petra Svoboda<br />



Editorial<br />

------- -----<br />

If flexibility drives your decision-making when<br />

seeking to broaden your ceramics skills, there are<br />

many possibilities to consider away from formal<br />

educational institutions, I recently attended a<br />

woodfiring workshop with Barbara Campbell-Allen<br />

at Gaya Ceramic Art Centre in Bali. Here we are at<br />

the end <strong>of</strong> the firing in May <strong>2012</strong> _<br />

Although we know that change is inevitable, most <strong>of</strong> us remain challenged by the fact that almost<br />

every aspect <strong>of</strong> current ceramic practice is different to that <strong>of</strong> a decade or two ago_ Despite stand-alone<br />

ceramics courses being absorbed into visual arts curriculum in TAFEs around the country, and other<br />

ceramic facilities closing down, there are also new opportunities opening up for those with creative<br />

and proactive approaches_ <strong>The</strong> new Art and Craft Department <strong>of</strong> Batchelor Institute <strong>of</strong> Indigenous<br />

Tertiary Education (BIITE) is one such example and we wish them every success! Karen Weiss' article<br />

on several innovative and resourceful ceramics departments may get you thinking; as well as working<br />

energetically within their institutions, they are also interacting more broadly in their local communities_<br />

Creative problem solving and a positive, flexible attitude are pushing people into areas which they may<br />

have previously rejected_ RMIT University and their bold new hybrid object-based courses are one such<br />

example. In our annual survey <strong>of</strong> graduate ceramic work, it's also stimulating to see such variety in<br />

the work being made. I think we underestimate the achievements made as we adapt to the changes<br />

happening in the education sector.<br />

And, despite ceramics not being part <strong>of</strong> traditional Indigenous craft practice, the diversity <strong>of</strong> ceramic<br />

forms and surfaces shown in this issue illustrate that Indigenous artists are finding the ceramic medium<br />

well suited to the translation <strong>of</strong> their stories_ Our coverage <strong>of</strong> the biennial Indigenous Ceramic Art<br />

Award (<strong>of</strong>fered by Shepparton Art Museum) illustrates the benefits <strong>of</strong> such encouragement and<br />

acknowledgement in this growing sector <strong>of</strong> ceramic art practice.<br />

And talking <strong>of</strong> change _.. we will soon be introducing a digital version <strong>of</strong> <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong><br />

<strong>Ceramics</strong> (JAC). Digital JAC will soon be available wherever you are in the world, together with a few<br />

added interactive features_ Look out for its release on our website, wwwaustralianceramics.com, and via<br />

our networks.<br />

I hope to see you in Adelaide for Subversive Clay, the <strong>2012</strong> <strong>Australian</strong> <strong>Ceramics</strong> Triennale _<br />

<strong>The</strong> gang down south have been working really hard to make Adelaide the city <strong>of</strong> ceramics during 4<br />

action-packed days in late September. <strong>The</strong>re'll be a plethora <strong>of</strong> opportunities for everyone to overdose<br />

on ceramics, so come along and enjoy!<br />

PS A meeting will be chaired by <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong><br />

Association in Adelaide at ACT <strong>2012</strong> to discuss future<br />

<strong>Australian</strong> <strong>Ceramics</strong> Triennales.<br />

~.<br />


Contributors<br />

Roy Ananda is a South <strong>Australian</strong> artist and<br />

writer. Since 2001 he has exhibited widely,<br />

holding solo exhibitions in Adelaide, Sydney,<br />

Melbourne and regional Victoria as well as<br />

participating in dozens <strong>of</strong> group exhibitions<br />

around Australia. He is currently Head <strong>of</strong><br />

Sculpture at Adelaide Central School <strong>of</strong> Art. Roy<br />

Ananda is represented by Dianne Tanzer Gallery<br />

+ Projects, Melbourne, and can be contacted<br />

through the gallery.<br />

http://diannetanzergallery.net,au<br />

Elisa Bartels<br />

I am a maker, writer and dreamer (not always<br />

in that order), so it is a pleasure when I get a<br />

chance to do any <strong>of</strong> these activities. Still early in<br />

my career, the prospect <strong>of</strong> exhibiting and selling<br />

looms, so it's heartening to see so many artistrun<br />

initiatives operating in this wide brown land.<br />

www.elisabartels.com<br />

Kari<br />

After making stuff since she was a kid, Kari<br />

now holds an Advanced Diploma <strong>of</strong> <strong>Ceramics</strong>.<br />

Her artwork has won awards and been exhibited<br />

in Victoria, Queensland and Japan. Kari's ceramic<br />

installations have appeared in dance concerts,<br />

environmental festivals and galleries. She shares<br />

a leafy green art studio with potter husband<br />

Stephen Roberts.<br />

www.karicelebrations.com<br />

www.stephenrobertsceramics.com.au<br />

Sophia Phillips is a practising artist and writer<br />

who lives in Adelaide. After a long fascination<br />

with intentionally flopping pots on the wheel,<br />

dropping, squeezing and prodding them, and<br />

generally just torturing the poor things, she has<br />

moved onto handbuilding sculptures in porcelain<br />

that are a little bit dangerous themselves. Sophia<br />

enjoys critical as well as descriptive writing, and<br />

has a penchant for the weird and wonderful<br />

things you can do with clay.<br />

www.sophiaphillips.net<br />


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

_ StephmBlrd<br />

--- -- ._.- ._- ._- ._ --<br />

__ .. 0<br />

- . w __ _..... .<br />

.-.<br />

At Blurb (www.blurb.com) you'll find all the<br />

tools you need to make your own photo book.<br />

With quality printing and binding and a range<br />

<strong>of</strong> choices - hardcover and s<strong>of</strong>tcover in an array<br />

<strong>of</strong> trim sizes - you can use their free online<br />

bookmaking tools to create your own book.<br />

Learn how to publish a book and much more<br />

with their how-to tips and tutorials. You can even<br />

turn a Blurb book into an ebook for the iPad.<br />

Check out Stephen Bird 's, Where the Wild<br />

Roses Grow, published early <strong>2012</strong> for his<br />

exhibition at Rex Irwin Art Dealer<br />

Go to www.blurb.com. search 'ceramics' and<br />

see what's possible.<br />

In celebration <strong>of</strong> <strong>No</strong>rth Queensland Potters'<br />

Association 40th anniversary, a new major<br />

acquisitive award <strong>of</strong> <strong>51</strong>0,000 has just been<br />

finalised, with the winning work going into the<br />

collection <strong>of</strong> the Perc Tucker Regional Gallery,<br />

Townsville. With awards totaling $15.000 this<br />

competition is not to be missed. Awards will be<br />

judged by Janet Mansfield. <strong>The</strong> exhibition will be<br />

held at Perc Tucker Regional Gallery, Townsville,<br />

from 9 to 25 <strong>No</strong>vember <strong>2012</strong>. Entries close on<br />

8 October <strong>2012</strong>. For more information please<br />

email: nqldpotters@yahoo.com.au. or go to<br />

www.nqpotters.com.<br />

<strong>The</strong> Cicely & Colin Rigg Contemporary<br />

Design Award is arguably the richest and<br />

most prestigious prize <strong>of</strong>fered for contemporary<br />

design in Australia. Held every three years,<br />

this year's award will focus on vessels and the<br />

notion <strong>of</strong> containment. Artists have been asked<br />

to think more laterally and abstractly about the<br />

notion <strong>of</strong> a vessel as an object that physically<br />

and metaphorically contains something. <strong>The</strong><br />

award will include artists working across many<br />

mediums. <strong>The</strong> exhibition will be held at <strong>The</strong><br />

Ian Potter Centre: NGV Australia at Federation<br />

Square, from 23 <strong>No</strong>vember <strong>2012</strong> to 25 May<br />

2013.<br />

We hear ceramics will be well represented, so<br />

it's sure to be worth a visit.<br />

www.ngv.vic.gov.au<br />

Cover artist Deanne Gilson lives and works in Ballarat, Victoria, and is from the Communityl<br />

Language group Wathaurung. This excerpt is from the 2011 Indigenous Ceramic Art Award<br />

catalogue:<br />

<strong>The</strong> subject matter for my installation visually documents the<br />

dreamtime myth <strong>of</strong> 'Bunjil' the wedge-tailed eagle, creator <strong>of</strong><br />

Aboriginal man and woman. Bunjil was said to be a great spirit<br />

that created man out <strong>of</strong> clay. On finishing the perfect human from<br />

the earth, along came a crow named 'Waa', who blew on the man<br />

and woman, thus carrying them all over the landscape. This is how<br />

different clans formed over the <strong>Australian</strong> continent.<br />

I have chosen to portray this story in a contemporary way by<br />

using the egg as a symbol <strong>of</strong> the birth process. In all there are ten eggs, one being white and the purest<br />

form, representing Bunjil. Eagles generally only lay two eggs. one white and one black and white. <strong>The</strong><br />

almost black egg next to Bunjil signifies the other eagle egg. This egg also represents my black and<br />

white culture. <strong>The</strong> other eggs are crow's eggs that make up my aboriginal family. I have chosen to leave<br />

the eggs looking quite abstract and slightly more exaggerated in their forms as this is a dreamtime myth<br />

and my interpretation <strong>of</strong> it. <strong>The</strong> scatter <strong>of</strong> leaves connects the piece together as 'one'.<br />


All things digital<br />


We have been talking for sometime about<br />

bringing the <strong>Journal</strong> into the digital age. In this,<br />

JAC's 50th anniversary year, the time has come!<br />

We are planning to launch a digital version<br />

starting with Issue <strong>51</strong>11, April <strong>2012</strong>. <strong>The</strong> digital<br />

version will feature interactive links such as video<br />

interviews and slideshows. Although the paper<br />

publication will continue, the digital version will<br />

enable greater immediate access worldwide,<br />

whilst also encouraging readership (nationally<br />

and internationally) across a variety <strong>of</strong> digital<br />

platforms such as iPad, tablets and computers.<br />

Are you entering a vase into<br />

<strong>The</strong> 50th Anniversary Vase Show?<br />

TACA members are invited to exhibit a vase in<br />

Adelaide at Subversive Clay, <strong>Australian</strong> <strong>Ceramics</strong><br />

Triennale <strong>2012</strong>, in late September. Vases must<br />

have been made in the last 12 months, measure<br />

less than 15 x 15 x 15cm and be available for<br />

sale. <strong>The</strong> Expression <strong>of</strong> Interest (EOI) deadline is<br />

31 <strong>July</strong> <strong>2012</strong>.<br />

Use the QR code below to access the EOI form<br />

on our website.<br />

Look out on www.australianceramics.com.<br />

for the DIGITAL JAC announcement. What a<br />

great gift for a fellow maker!<br />

Have you found us on Facebook, Flickr and<br />

Wordpress?<br />

<strong>The</strong> Aust ralian <strong>Ceramics</strong> Association is now active<br />

on these networks:<br />

Facebook: search' <strong>Australian</strong> <strong>Ceramics</strong>' and 'like'<br />

our page.<br />

Flickr: www.flickr.comlphotoslaustralianceramics<br />

Word press:<br />

http://australianceramics.wordpress.com<br />

Alternatively, go to www.australianceramics.com.<br />

click on 'Association', then 'Member Exhibitions',<br />

and dowload the form via the link, or call 1300<br />

720 124 and we will mail an EOI form to you.<br />

Be sure to enjoy our extra web features<br />

at www.austraUanceramics.com<br />

Go online to hear . . • •• talk about her experiences in China. Jan Howlin visited Janet at her<br />

home and pottery in the Brindabella Ranges west <strong>of</strong> Canberra and in this interview excerpt, accompanied<br />

by a slideshow, Janet describes how she became the designer <strong>of</strong> factory· produced ceramics, and how this<br />

involvement has radically changed the work she makes.<br />

Tl<strong>No</strong> web-only artldes:<br />

Understory:<br />

review <strong>of</strong> <strong>The</strong> Narrative Knot: Stories in <strong>Ceramics</strong><br />

reviews <strong>The</strong>n and <strong>No</strong>w, an exhibition held at Whitehorse Art Space earlier this year. Guest<br />

curator Sue McFarland delved into the joint collections to assemble a diverse range <strong>of</strong> ceramics mainly from the<br />

70s, '80s and '90s. She then invited the artists selected to exhibit a contemporary work representative <strong>of</strong> their<br />

current art practice.<br />


Akio Takamori<br />

Masamichi Yoshikawa<br />

<strong>2012</strong> <strong>Australian</strong> <strong>Ceramics</strong> Triennale<br />

28 September - 1 October Adelaide<br />

To view conference themes, registration details, fees and early bird rates , venues<br />

and conference information please visit the website: www.australianceramicstriennale.com<br />

International presenters<br />

Anton Reijnders - Netherlands<br />

Akio Takamori - USA<br />

Clare Twomey - UK<br />

Masamichi Yosh ikawa - Japan<br />

Pre Conference Master Classes<br />

Akio Takamori<br />

Masamichi Yoshikawa<br />

24, 25, 26 September <strong>2012</strong><br />

E: subversiveclay@craftsouth.org .au T: (08) 8410 1822<br />

Craftsouth major ceramics co nference partner<br />

~ Government <strong>of</strong> South Australia<br />

~ ArtsSA<br />

~<br />

UniSA<br />

Jam<br />


Event<br />

Damon Moon on the Triennale<br />

September is approaching and Adelaide is gearing up to host Subversive Clay, the <strong>2012</strong><br />

<strong>Australian</strong> <strong>Ceramics</strong> Triennale, so it's time to take a final look at an event that no one with<br />

a passion for ceramics will want to miss.<br />

With the focus on clay as a subversive medium, a multiplicity <strong>of</strong> exhibitions, masterclasses,<br />

demonstrators, keynote addresses and panel discussions will explore this theme, in a city<br />

that seems purpose built to hold such an event.<br />

<strong>The</strong> West End precinct is the conference hub, where many <strong>of</strong> the venues are literally<br />

adjacent to each other, and major institutions like the Art Gallery <strong>of</strong> South Australia, the<br />

Flinders University City Art Gallery and the South <strong>Australian</strong> Museum only a ten minute<br />

walk away. For those who want to venture farther afield, there are several tours on <strong>of</strong>fer<br />

which, while placing due emphasis on matters ceramic, will also explore the viticultural and<br />

gastronomic delights <strong>of</strong> the beautiful Adelaide Hills and Southern Vales.<br />

Program and Registrations are available on the website<br />

www.australianceramicstriennale.com<br />

Masterclasses and Demonstrations<br />

Although <strong>of</strong>ficially beginning on Friday 28 October, some<br />

conference-related activities commence the week preceding, with<br />

masterciasses by the internat ionally renowned artists Akio Takamori<br />

and Masamichi Yoshikawa in the studios <strong>of</strong> the JamFactory<br />

Contemporary Craft and Design Centre and the Adelaide College<br />

<strong>of</strong> the Arts. Another event is the Hyperclay workshop for teachers<br />

and other interested people, on Thursday 27 September, held in<br />

conjunction with the Hyperclay touring exhibition, which will also<br />

be at the JamFactory - (locals just call it 'the Jam').<br />

Of the many demonstrations on <strong>of</strong>fer during the conference,<br />

the ceramicist Gerry Wedd best sums it up when he says that "the<br />

real value <strong>of</strong> these events is being able to observe idiosyncratic<br />

approaches to making". As well as Gerry, ceramicists inciuding Prue<br />

Venables, Philip Hart, Stephen Bowers and many others will be<br />

plying their trade in the studios and workshops <strong>of</strong> the JamFactory,<br />

UniSA and the Adelaide College <strong>of</strong> the Arts.<br />

Work by Masamichi Yoshikawa<br />

Below: Mark Heidenreich<br />

28 Sep -1 Oct <strong>2012</strong><br />


Event<br />

Keynotes and Panels<br />

<strong>The</strong> conference begins on Friday<br />

with noted <strong>Australian</strong> ceramicist and<br />

publisher Janet Mansfield introducing<br />

the first <strong>of</strong> the keynote speakers, Anton<br />

Reijnders (the Netherlands), who will<br />

deliver a paper addressing 'Recent<br />

Developments: Directions and the<br />

Future'. <strong>The</strong> four keynote speakers,<br />

Anton Reijnders, Clare Twomey (UK),<br />

Akio Takamori (Us/Japan) and Penny<br />

Byrne (Australia), will then be in<br />

conversation about the conference<br />

theme.<br />

Each morning over the following<br />

days, a keynote address will be<br />

followed by panel discussions on a<br />

wide range <strong>of</strong> topics. <strong>The</strong> MC for<br />

Saturday is Dr Robert Bell, Senior<br />

Curator <strong>of</strong> Decorative Arts at the<br />

National Gallery <strong>of</strong> Australia, when he<br />

will introduce Clare Twomey and her<br />

paper on 'Philosophical and Eth ical<br />

Directions in Contemporary <strong>Ceramics</strong>'.<br />

Sunday morning sees Akio Takamori<br />

discussing his work in the context<br />

<strong>of</strong> 'History, Tradition, Culture and<br />

Identity', after which a panel, chaired<br />

by renowned <strong>Australian</strong> ceramicist Jeff<br />

Mincham, will elaborate on this theme.<br />

Above: Penny Byrne<br />

Below: Anton Reijnders<br />

Monday is the final day <strong>of</strong> the<br />

conference when Paul Scott (UK) will<br />

take to the stage with keynote speaker<br />

Penny Byrne to explore the topic<br />

'Diverging Practice, Shifting Ground<br />

and Cross Disciplines'.<br />

28 Sep -1 Oct <strong>2012</strong><br />


Exhibitions<br />

In addi tion to the Hyperc/ay touring exhibition,<br />

JamFactory will be showing ceramics from the Tiwi Islands<br />

and work by the four finalists in the Alcorso <strong>Ceramics</strong><br />

Competition, Vitrify <strong>2012</strong>.<br />

Two challenging exhibitions examine the history and<br />

legacy <strong>of</strong> a very South <strong>Australian</strong> style <strong>of</strong> Funk ceramics,<br />

with Skangaroovia Revisited at the Art Gallery <strong>of</strong> South<br />

Australia <strong>of</strong>fering a rare opportunity to see key works<br />

from the collection that are still as subversive as the day<br />

they were made, while Post Skangaroovian at the SASA<br />

Gallery will examine how this work resonates within<br />

contemporary practice.<br />

Above: Klaus Gutowski<br />

Selow: Stephen Bird<br />

Following on from the conference theme, Subvert<br />

at Light Square Gallery will present work from keynote<br />

speakers and presenters, and in Irrational and<br />

Idiosyncratic, the renowned <strong>Australian</strong> designer Khai<br />

Liew will team up with South <strong>Australian</strong> ceramicist and<br />

educator Bruce Nuske at the Anne and Gordon Samstag<br />

Museum <strong>of</strong> Art to present an exhibition inspired by the<br />

19th century fashion <strong>of</strong> Orientalism. And, for something<br />

completely different, Clay Lineage at the Kerry Packer<br />

Civic Gallery will showcase early South <strong>Australian</strong><br />

commercial potteries.<br />

For a full list <strong>of</strong> exhibitions, go to www.australianceramicstriennale.com<br />

Events<br />

Several special events promise to round <strong>of</strong>f the proceedings in spectacular fashion.<br />

On Friday evening a reception will be held at the JamFactory to announce the winner <strong>of</strong> the<br />

prestigious Vitrify <strong>2012</strong> Alcorso Ceramic Award. A special celebration will be held on Saturday evening<br />

to mark the 50th anniversary <strong>of</strong> <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>, and on Sunday night Subversive<br />

Clay's conference party Rock the Frock will celebrate ... well, it'll just be a celebration. Just keep in<br />

mind that there is still a full day to go (plenty <strong>of</strong> strong c<strong>of</strong>fees on Monday morning) before the <strong>of</strong>ficial<br />

conference close on Monday afternoon.<br />

Registrations and the program outline are available on www australianceramicstriennale.com<br />

THE 10URNAL OF AUSTRALIAN CERAMICS IULY <strong>2012</strong> 13

Pr<strong>of</strong>ile<br />

Janet DeBoos<br />

<strong>The</strong> Space Between<br />

by Jan Howlin<br />

Long-time teacher, glaze specialist and author, one-time production potter, sinophile and collaborator<br />

with the ceramic industry in China, speaker, writer, project facilitator and respected ceramic artist,<br />

Janet DeBoos has been a prominent. active and productive participant in the development <strong>of</strong> ceramics<br />

in Australia over the last four decades. Since the early eighties she has had eight solo exhibitions,<br />

contributed to more than a hundred group shows, and her work is held in museums and galleries in<br />

Australia, Taiwan, Greece and China. She has taught for many years, most recently as Head <strong>of</strong> the<br />

<strong>Ceramics</strong> Workshop at the School <strong>of</strong> Art, <strong>Australian</strong> National University (ANU), in Canberra. She has<br />

given numerous lectures and workshops in all states <strong>of</strong> Australia as well as in Canada, the USA, UK,<br />

China and Korea, has <strong>of</strong>ten been published in ceramics magazines and acted on various boards and<br />

committees. For DeBoos, these many achievements are simply facets <strong>of</strong> a whole, rich and integrated life<br />

- and a most privileged life at that, she says, in that, largely, she does what she wants to do.<br />

Born in Melbourne in 1948, DeBoos grew up for the most part in the southern Sydney suburb <strong>of</strong><br />

Blakehurst. She attended opportunity classes in primary school, repeated fifth year at Blakehurst High,<br />

and, after taking up a Commonwealth Teacher'S College Scholarship, completed a science degree,<br />

majoring in Zoology and Botany, at Sydney University in 1969. Despite her obvious mathematics/science<br />

bent, she was always attracted to "doing something with [her] hands". She took pottery classes at St<br />

George Technical College with her mother, who was a keen hobby potter with a small studio at home.<br />

"Everyone was doing it in the sixties, and I just thought I'd do it too," says DeBoos. In her final year at<br />

university, she attended a class at East Sydney Technical College (ESTC) run by Peter Rushforth, and at his<br />

suggestion she joined the Certificate Course there the following year, which she completed in 1971 .<br />

Through the seventies, married and living in inner-Sydney Glebe with a woodfired kiln, a sheep, ducks<br />

and a vegetable garden in the backyard, she fully embraced not only the craft movement, which was<br />

in full swing, but the alternative spirit <strong>of</strong> the time. Together with her first husband she bought land in<br />

Mudgee, and from 1973 to 1975 hosted woodfired pottery summer schools there. She taught pottery<br />

and glazing for most <strong>of</strong> the decade in various NSW technical colleges, either part-time or full-time,<br />

including stints in Canberra Technical College and as Head <strong>of</strong> School briefly at ESTC from 1979 to 1980.<br />

When she heard by chance that Macmillan Publishers wanted a book written on glazes, she volunteered.<br />

"And I still think the results are very clearly written," she says. Although she also made pots, she says<br />

Glazes for <strong>Australian</strong> Potters (1978) meant she was known much more as "the glaze lady", and as<br />

such she went on to co-author Handbook for <strong>Australian</strong> Potters (1984) and write More Glazes for<br />

<strong>Australian</strong> Potters (1989).<br />

<strong>The</strong> 1980s brought major change. De800s and her second husband Michael Wignall spent a couple<br />

<strong>of</strong> years sailing in the Mediterranean, she gave birth to their daughter Mary and by the end <strong>of</strong> 1982,<br />

they were back in Australia establishing a production pottery, Brindabella Pottery. Set in the Brindabella<br />

ranges, well over an hour from Canberra by a rutted dirt road, the pottery, an extensive house, gallery<br />

and studio, was built by her husband, who also worked in the pottery when construction tailed <strong>of</strong>f.<br />


Pr<strong>of</strong>ile<br />

DeBoos, meanwhile, threw and glazed the pots, mainly in a limited range <strong>of</strong> strong colours, a shino<br />

look-alike and tenmoku. "I was making domestic ware, which was always my real love, " she says, "as<br />

well as dry-glazed decorative pots, which were based on functional forms, so 'like teapots' or 'like<br />

jugs'. <strong>The</strong>y were so easy to make compared with the domestic ware. I could sit down and throw over<br />

a thousand dollars wholesale <strong>of</strong> those pots in a day, so the return on them was fantastic." <strong>The</strong> pottery<br />

was run as a business with no hired staff, no goods on consignment, no retail sales, and minimum<br />

wholesale orders <strong>of</strong> $1000 with pots exchangeable if unsold after six months. "We never had any<br />

returns," says DeBoos, adding that they sold everything they made.<br />

A dedication to domestic pottery also drove the development <strong>of</strong> DeBoos' exhibition work. "<strong>The</strong> longer<br />

I work with functional form ... the more I realize its potential as a vehicle for artistic expression," 1 she<br />

observed. In 1985 she experienced a kind <strong>of</strong> epiphany, a realisation that the twenty teapots she might<br />

throw at one time were all part <strong>of</strong> the one work, Teapot, and that "the essential art <strong>of</strong> the production<br />

potter lies in the repetition <strong>of</strong> form" . 2 She later wrote that "since then, my work has focused almost<br />

entirely on functional pottery, the nature <strong>of</strong> its production and the meaning <strong>of</strong> function ".3 While other<br />

ceramic artists tended to exhibit non-functional vessels and sculptural forms in shows and prizes,<br />

DeBoos began presenting her production ware in series to highlight both the similarity that unified the<br />

pots, and the nuances that differentiated them.<br />

Influenced by shells on the beach after a move to Tanja on the NSW south coast, she switched<br />

to porcellaneous stoneware (TMK) and later to porcelain itself. Exploring process and repetition, she<br />

began adding a single spiralling mark to the outside <strong>of</strong> each pot and in a 1996 exhibition, Process<br />

& Obsession at the Performance Space, Sydney, she exhibited the precursors <strong>of</strong> the thinly thrown

Pr<strong>of</strong>ile<br />

porcelain domestic ware with distinctive gestural marks that became her signature. "My work talks<br />

about the theatre <strong>of</strong> making, the resistance <strong>of</strong> porcelain to complete control, the struggle to coax form<br />

from the mass, the frisson <strong>of</strong> danger in the near collapse, "4 she writes. While the interplay <strong>of</strong> process<br />

and material produced the immediacy <strong>of</strong> the aesthetic, the idea <strong>of</strong> repetition is key. " I'm thrilled by<br />

repetition," she says.s <strong>The</strong> notion <strong>of</strong> sets and what constitutes a set, and the history <strong>of</strong> pottery are also<br />

areas <strong>of</strong> interest, along with the expression <strong>of</strong> the hand-made as a connection with humanity, and the<br />

way meaning is overlaid onto domestic ware through use.<br />

In 1985 DeBoos took up teaching glaze again at the School <strong>of</strong> Art, Canberra, at first just one day<br />

a week. then later job-sharing with Greg Daly for six years before taking on the role <strong>of</strong> Head <strong>of</strong> the<br />

Ceramic Workshop at ANU in 1998 (and closing the pottery.) Along with administration, teaching<br />

and research, DeBoos has spent her time there contributing actively to the broader ceramic fraternity,<br />

hosting conferences, writing journal articles, giving lectures and facilitating interaction between<br />

students, the ceramic community and different cultural groups including fostering relationships with<br />

the ceramics industry in China. <strong>No</strong>tably. she has also supported the Ernabella Indigenous Arts Centre<br />

Remote Communities Project and developed Australia's first Undergraduate Award Course in ceramics<br />

run in distance mode, which is now discontinued. DeBoos expects to retire from her position as Head <strong>of</strong><br />

<strong>Ceramics</strong> at the end <strong>of</strong> this year.<br />

Without dOUbt, her 'China experience' - the connections and relationships DeBoos has developed<br />

with Chinese ceramic manufacturers, academics and institutions - has redirected her life. When ANU<br />

hosted the 8th National <strong>Ceramics</strong> Conference in 1996, one <strong>of</strong> the speakers was Pr<strong>of</strong>essor Zhang<br />

Shouzhi, a respected Chinese designer and Head <strong>of</strong> <strong>Ceramics</strong> at what is now Tsinghua University in

Beijing. When De Boos met the pr<strong>of</strong>essor again at a symposium for western potters in Yixin, China,<br />

it was "the beginning <strong>of</strong> a long friendship" . Invited to China again a couple <strong>of</strong> years later, DeBoos<br />

attended an industry symposium in Zibo, a large industrial ceramic centre in Shandong Province, and<br />

at Pr<strong>of</strong>essor Zhang's instigation a set <strong>of</strong> her porcelain domestic ware designs were put into produdion<br />

at the Huaguang Bone China Fadory, Zibo. Investigating the difference between her hand-thrown<br />

porcelain wares and their fadory-made bone china counterparts has been a primary concern for<br />

DeBoos, as has the notion that she has become a designer rather than a maker.6 Since the Chinese<br />

market views unadorned white china as 'hotel ware', Pr<strong>of</strong>essor Zhang, who collaborated with DeBoos in<br />

designing decorative decals for the series, also persuaded her to look at decoration herself.<br />

Having previously always eschewed decoration, DeBoos quotes a homily <strong>of</strong> her mother's, " You should<br />

bring the enemy into your own camp, Janet!", and with that in mind she did investigate decoration<br />

"and found it very interesting". At first, prompted by the history <strong>of</strong> Western tableware, she decorated<br />

her work with decals <strong>of</strong> an old chintz pattern she'd found called 'Summertime Rose' . By 2003 and 2004<br />

she was exhibiting these works under the title <strong>of</strong> Set <strong>The</strong>ory: tea sets comprised <strong>of</strong> disparate elements<br />

- some porcelain, bone china, hand-thrown and slip-cast, even commercial mugs - with Summertime<br />

Rose as the unifying fador.<br />

Since then she has taken a different diredion again, producing highly decorated straight-sided vessels<br />

that "bring together a lot <strong>of</strong> different threads" in her work.

Pr<strong>of</strong>i le<br />

"I realised I was again standing between<br />

two things: the culture here and the culture<br />

there, " she says <strong>of</strong> the designs that combine<br />

Qing Dynasty imagery with motifs drawn<br />

from the <strong>Australian</strong> bush and desert. To<br />

make them she uses sgraffito and terra<br />

sigiliata, techniques she <strong>of</strong>ten taught.'and<br />

plant forms and patterns that refled her<br />

doodles, the "telephone art" she's done all<br />

her life. <strong>The</strong> work "seemed to make itself.<br />

It's the first time I've had that experience,"<br />

she says. "I think I've always been<br />

interested in the space between things", between industry and the hand-made, between fundional<br />

and non-fundional, and increasingly, between China and Australia, which is where her future, as she<br />

enthusiastically pursues her numerous ongoing projeds and plans, is bound to blossom as it unfolds.<br />

1 Jan(>t Mansfield. Contemporary Ceramic Art;n Australia and New Zealand. Roseville East NSW. Craftsman House, 1995. p 44<br />

2 Janel OeBoos. '<strong>The</strong> Plight <strong>of</strong> the Studio Potter', Pottery In Australia, <strong>Vol</strong> 28 <strong>No</strong> 2, 1989, p. l l<br />

3 Janet OeBoos, '<strong>The</strong> Meamng <strong>of</strong> Function', Pottery In Australia, <strong>Vol</strong> 35 <strong>No</strong> 1, 1996, p.24<br />

4 Cudgegong Gallery, NSW Austral1a, Artist Janet DeBoos, \'\IIMV.cudgegonggallery.com aulartisCdetall.php?gID=3&aID=88 (accessed 14/5/1 2)<br />

5 Janet DeBoos, 'Handmade? DeSigned? What does It mean?' <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>. <strong>Vol</strong> 44, <strong>No</strong> 1, 2005. p.l 5<br />

6 Virtual Craft, new technologies and their effect on the making and teaching <strong>of</strong> art, craft and design:<br />

http://virtualterntorywordpfe!.s.com/2007106tU4/designermaker-statement - l-Jc3net·deboosl (accessed 16/S112)<br />

Photographer: Anthony Browell

Pr<strong>of</strong>ile<br />

1948<br />

1953-65<br />

1966-1969<br />

1970-1 971<br />

1972-1975<br />

1973- 1975<br />

1974-1975<br />

1976-1978<br />

1978<br />

1979<br />

1979-1980<br />

1980<br />

1982-1998<br />

1983-1987<br />

1984<br />

1985<br />

1985- 1997<br />

1986<br />

1988<br />

1989<br />

1991<br />

1994<br />

1996<br />

2004<br />

2006<br />

2007<br />

2008<br />

1997<br />

1998-<br />

2000<br />

2001<br />

2002<br />

2003-<br />

2008-<br />

2009<br />

2010<br />

201 1<br />

<strong>2012</strong><br />


Born in Melbourne<br />

Grew up in Blakehurst, southern Sydney<br />

Bachelor <strong>of</strong> Science, Sydney University, Sydney, NSW<br />

Ceramic Certificate, National Art School, East Sydney Technical College, (ESTC)<br />

Sydney, NSW<br />

Taught at Canberra Technical College School <strong>of</strong> Art, Canberra, ACT<br />

Ran woodfiring summer schools in Mudgee<br />

Studied Fine Arts and Italian, Sydney University, Sydney, NSW<br />

Taught ceramics at Randwick and St George Technical Colleges, Sydney, NSW<br />

Wrote Glazes for <strong>Australian</strong> Potters<br />

Solo exhibition, Fusions Gallery, Brisbane, QLD<br />

Head Teacher <strong>Ceramics</strong>, ESTC, Sydney, NSW<br />

Exhibition at Potters Gallery, Sydney, NSW<br />

Produdion potter, Brindabella Pottery<br />

Ran summer residential courses at Brindabella Pottery<br />

Co-wrote Handbook for <strong>Australian</strong> Potters<br />

Queensland Potters' Association Gallery, Brisbane, QLD<br />

Ledurer in <strong>Ceramics</strong>, Canberra School <strong>of</strong> Art, <strong>Australian</strong> National University, (ANU)<br />

Canberra, ACT<br />

Solo exhibition, Potters Gallery, Sydney, NSW<br />

Delivered the Doug Alexander Memorial Lecture: <strong>The</strong> Plight <strong>of</strong> the Studio Potter<br />

More Glazes for <strong>Australian</strong> Potters was published<br />

A Change <strong>of</strong> Scenery, solo exhibition at Narek Galleries, Tharwa, ACT<br />

Memories <strong>of</strong> the Domestic Life, Ceramic Art Gallery, Sydney, NSW<br />

Co-chaired the 8th <strong>Australian</strong> <strong>Ceramics</strong> Conference, Canberra, ACT; Won Highly<br />

Commended Acquisition Award, Gold Coast International Ceramic Award;<br />

Living Dangerously, exhibition ANU SOA Foyer Gallery, Canberra, ACT<br />

Memories <strong>of</strong> the Domestic Life, Weswal Gallery, Tamworth, NSW<br />

Became Head <strong>of</strong> <strong>Ceramics</strong> Workshop, Canberra School <strong>of</strong> Art, ANU, Canberra, ACT<br />

Domestic Concerns, (with Patsy Hely), Ceramic Art Gallery, Sydney, NSW<br />

Composite <strong>of</strong> Opposites, (with Alan Watt) at Drill Hall Gallery, Canberra, ACT<br />

DeBoos originals factory-produced by PaolaC <strong>Ceramics</strong>, Aldo Cibic Design, Milan, Italy<br />

Invited to be honorary domestic ware designer at Huaguang Bone China Fadory,<br />

Zibo, Shandong Province, PRC<br />

DeBoos-designed, fadory-made bone china tea set awarded Silver Medal in Chinese<br />

National Tableware Competition, PRC<br />

Spoke on '<strong>The</strong> Distributed Studio', at Verge, the 11th <strong>Australian</strong> <strong>Ceramics</strong> Triennale,<br />

Brisbane; Sublime exhibition, Narek Galleries, Tanja, NSW; Pourers designed for<br />

produdion by Songfa <strong>Ceramics</strong>, Chaozhou, PRC<br />

Collaborated in limited edition produdion: DeBoos-designed, Huaguang bone china<br />

tea set decorated by Pr<strong>of</strong>. Zhang Shouzhi<br />

Entropy and Other Considerations, exhibition at Skepsi on Swanston Gallery,<br />

Melbourne, VIC<br />

Began involvement with Ernabella Indigenous Arts Centre/Remote Communities Project, SA<br />

Education Panel Member, 12th <strong>Australian</strong> <strong>Ceramics</strong> Triennale, Sydney; Presenter<br />

at National Council for Education in the Ceramic Arts (NCECA) Conference, Phoenix,<br />

Arizona, USA; Organised factory symposium for nine artists, Huaguang Bone China<br />

Fadory, Zibo<br />

Solo exhibition Scratching the Surface, Narek Galleries, Tanja NSW<br />

Advisor to Cheongju International Craft Biennale, PRC<br />

Presenter at NCECA, Seattle, USA; Guest Presenter at Royal College <strong>of</strong> Art, London, UK<br />


Focus: Indige nous <strong>Ceramics</strong><br />

Jeannie Herbert Nungarrayi, Warlpin born 1953, Ngarlkirdi Julcurrpa (Witchetty Grub Dreaming), 1989, earthenware<br />

h.2Ocm, w.20.6cm, National Gallery <strong>of</strong> Victoria, Melbourne; purchased from Admission Funds, t 991 (0.8-1991)<br />

<strong>The</strong> 1989 Lajamanu<br />

<strong>Ceramics</strong> Project<br />

A Potted History by Christine Nicholls<br />

From 1982- 1991, I lived and worked with Warlpiri Aboriginal people at Lajamanu. Situated in the<br />

Tanam i Desert <strong>of</strong> the <strong>No</strong>rthern Territory, Lajamanu is almost 700 kilometres away from the ne~rest<br />

town <strong>of</strong> any size (Katherine), and home to more than 700 Warlpiri Aboriginal people who, following<br />

a successful 1976 land claim, are also the legal landholders. <strong>The</strong> desert climate is harsh, mostly hot<br />

and dry, with the temperature at times exceeding 50 0 ( in the shade, although in winter it occasionally<br />

plummets below zero.<br />

Initially, in 1982, I held the position <strong>of</strong> Lajamanu's first teacher-linguist, working with Warlpiri people<br />

to set up the local school's inaugural bilingual education program, using the Warlpiri language and<br />

English. In 1984 I accepted the position <strong>of</strong> Principal <strong>of</strong> Lajamanu School, a school with an average<br />

enrolment <strong>of</strong> around 200 children.<br />


Focus: Indigen ous Ceram ics<br />

-------<br />

Christine Nicholls (Napurrurla). with<br />

5-year-old Anna Napurrurla sitting on<br />

her lap. awaiting a women's yawutyu<br />

ceremony, c 1988, lajamanu<br />

In addition, I was responsible for Adult Education programs at Lajamanu, which, in theory, were open<br />

to all Warlpiri adults wishing to participate. For most <strong>of</strong> the time that I lived at Lajamanu the Adult<br />

Education position remained unfilled, meaning that I and other staff members effectively functioned as<br />

de facto adult educators, organising, when possible, programs to meet the educational needs <strong>of</strong> adult<br />

Warlpiri community members.<br />

<strong>The</strong> experience <strong>of</strong> living at Lajamanu in the 1980s was mostly exhilarating, though at times stressful<br />

and exhausting, mainly on account <strong>of</strong> the prevalent racism <strong>of</strong> many whites towards Warlpiri. In the<br />

course <strong>of</strong> the years that I lived and worked there, I became progressively more involved in Warlpiri<br />

ceremonial life. As a result I learned about the Warlpiri land-based religion called the Jukurrpa, which is<br />

also the basis for Warlpiri social organisation.<br />

During the same period, as school principal, I organised visiting arts educators to come to Lajamanu to<br />

work on specific projects with the school children. One such visitor was Robin Laurie, a founder <strong>of</strong> Circus<br />

Oz, who travelled to Lajamanu from Melbourne in the late '80s to conduct a drama and performancebased<br />

residency, culminating in the Lajamanu children touring Territory Aboriginal schools to perform<br />

their own circus.<br />

It was considerably more difficult to source funding for arts-based programs for adult community<br />

members, largely because <strong>of</strong> the entrenched racism <strong>of</strong> Territory bureaucrats at that time, who used the<br />

Warlpiri adults' lack <strong>of</strong> literacy skills (unsurprising as they had been brought up in the bush with no<br />

access to western schooling), as a 'reason' to deny this group educational opportunities.<br />

Nevertheless, from time-to-time, arts-based adult education programs and projects were organised.<br />

<strong>The</strong>se included the successful 1988-89 ceramics project, which culminated in an exhibition <strong>of</strong> 39<br />

Lajamanu ceramic works at the National Gallery <strong>of</strong> Victoria in 1990. <strong>The</strong> NGV eventually acquired nine<br />

<strong>of</strong> those works, which are now in its permanent collection.<br />

<strong>The</strong> 1988 and 1989 Lajamanu <strong>Ceramics</strong> Programs<br />

In early 1988, two pr<strong>of</strong>essional ceramicists, French-speaking Canadian Claire Larrivee and her Belgian<br />

born partner Francis Janssen, contacted me via two-way radio, proposing that they visit Lajamanu<br />

later in the year to introduce ceramics to the school children. I agreed without demur, and a couple <strong>of</strong><br />

months later the ceramicists arrived at Lajamanu.<br />


----<br />

Focus: Indigenous <strong>Ceramics</strong><br />

During that initial one-week visit the ceramicists worked energetically and productively w ith school<br />

children and staff, mixing well with Lajamanu community members. <strong>The</strong>ir positive engagement with the<br />

wider Warlpiri community led me to invite the pair to return to Lajamanu the following year to conduct<br />

a longer ceramics residency.<br />

Surprisingly, the submission for funding proved successful, enabling the potters to return in 1989 to<br />

implement a longer, more ambitiOUS ceramics project aimed specifically at older Warlpiri community<br />

members. On their return it was decided that they would work on two ceramic projects for adults,<br />

the first to be a 3-month-long ceramics workshop open to adult Warlpiri and non-Warlpiri Lajamanu<br />

residents. It was further decided that classes would take place on weekday evenings, because during the<br />

day it was so stiflingly hot. Teachers at the school were eligible to sign up for those night classes.<br />

Among the school staff who participated regularly were Gracie White Napaljarri and Marjorie<br />

Nungarrayi Watson, two Warlpiri early childhood teachers. Jeannie Herbert Nungarrayi, the only fully<br />

qualified Warlpiri teacher at Lajamanu School in 1989, also became passionately committed to the<br />

ceramics workshop, turning her hand to making pots that were distinctive in terms <strong>of</strong> their conceptual<br />

basis and shape. Several non-Indigenous teachers attended too, including myself and early childhood<br />

teacher Shannon Hapaanen.<br />

Other attendees included an enthusiastic group <strong>of</strong> middle-aged women including Biddy Rockman<br />

Napaljarri and Myra Patrick Nungarrayi, several slightly younger participants including Marlene Johnson<br />

Nampijinpa an d Valerie Patterson Napanangka, and a group <strong>of</strong> younger-still participants including<br />

Belinda Nakamarra and Barbara Morrison Nakamarra. On any given weekday evening, depending<br />

on what was happening in the<br />

community, there could be as few<br />

as six or as many as 30-35 people<br />

participating in those ceramic<br />

workshops. Less regular attendees<br />

included Peggy Rockman Napaljarri,<br />

Li ly Nungarrayi Hargraves, and<br />

Yulyurlu (Lorna) Napurrurla, who<br />

later became a celebrated painter.<br />

<strong>The</strong> latter group <strong>of</strong> older women<br />

comprised great colourists who,<br />

despite not being able to attend the<br />

workshops daily as a result <strong>of</strong> their<br />

family responsibilities, inspired other<br />

younger participants to take risks<br />

with their ceramic artworks.<br />

Jeannie Herbert Nungarrayi, Warlpiri born 1953, Ngarlkirdi<br />

Jukurrpa (Witchetty Grub Dreaming), 1989, earthenware, h.20.2cm<br />

w.20.2cm, National Gallery <strong>of</strong> Victoria, Melbourne<br />

Purchased from Admission Funds, 1991 (0.9-1991 )<br />

A few Warlpiri men attended<br />

sporadically, for example Marlene<br />

Johnson Nampijinpa's husband<br />

Cecil Johnson Japangardi. <strong>The</strong><br />

group almost entirely comprised<br />

women, however, partly because<br />

<strong>of</strong> avoidance relationships between

Focus: Indigenous <strong>Ceramics</strong><br />

-----<br />

certain adult Warlpiri men and their mothers-in-law, but also because, on the whole, the women were<br />

keener to learn about and to make ceramic works.<br />

<strong>The</strong> workshops themselves were dynamic, convivial affairs underscored by a sense <strong>of</strong> esprit de corps;<br />

we constituted a lively, talkative, united group. <strong>The</strong> dominant feeling was that we had collectively<br />

embarked on a significant as well as immensely pleasurable project. It was a rare opportunity for<br />

a genuinely 'level playing field' collaboration between Indigenous and non-Indigenous community<br />

members, notwithstanding the unarguable fact that the most aesthetically pleasing artworks were<br />

created by the adult Warlpiri women.<br />

In terms <strong>of</strong> making, most <strong>of</strong> the Warlpiri women adopted a uniform technique. As Claire Larrivee<br />

explained:<br />

Often the women painted a black slip over the terra cotta colour and then painted on top <strong>of</strong> that. We let<br />

them work as they liked and just helped with the technique. After all, they are painters and they have<br />

their own sense <strong>of</strong> colour. <strong>The</strong> paintings representing Dreamings are also a means <strong>of</strong> expression for each<br />

artist and each one works in a particular way 1<br />

Claire and Francis were also conducting a second pottery project during the day, also at the school<br />

and open to Warlpiri adults living at Lajamanu . In practice, 100 per cent <strong>of</strong> the participants were<br />

women. Francis and Claire made and fired multiple individual, standard-size ceramic tiles, which the<br />

women then painted and decorated with their own Jukurrpa (,Dreamings'). Eventually two sizeable<br />

murals were assembled from the individual tiles, the largest <strong>of</strong> which was subsequently mounted on the<br />

most prominent wall inside the school staffroom. As a public display, the mural became a source <strong>of</strong> real<br />

community pride, also drawing unqualified admiration from visitors to Lajamanu.<br />

To return to the evening workshops, after firing the individual ceramic works, each artist-creator then<br />

painted the work with her personal Jukurrpa, thereby taking the object out <strong>of</strong> the secular domain and<br />

into the sacred . It is important to understand that these Jukurrpa, which are fundamentally expressions<br />

<strong>of</strong> the desert traversals <strong>of</strong> Warlpiri Creator Ancestors during the foundational creation time known in<br />

inadequate English translation as '<strong>The</strong> Dreaming', and which also relate closely to localised ecosystems<br />

<strong>of</strong> highly specific tracts <strong>of</strong> land owned or managed by those artists who are permitted to render them<br />

in visual form, are subject to the intellectual and artistic copyright <strong>of</strong> the specific individuals and groups<br />

with which they are affiliated. So by applying their Jukurrpa designs onto their ceramic works, the<br />

women transformed them into expressions <strong>of</strong> the Warlpiri religion - a belief system that is grounded in<br />

the earth.<br />

From Remote Warlpiri Settlement to Gallery Walls:<br />

A Discussion <strong>of</strong> the 1989 Ceramic Works Acquired by the NGV<br />

<strong>The</strong> balance <strong>of</strong> this article entails discussion <strong>of</strong> several <strong>of</strong> the Warlpiri women's works, specifically those<br />

acquired in 1990 by the National Gallery <strong>of</strong> Victoria.<br />

Jeannie Herbert Nungarrayi's pots were unique ins<strong>of</strong>ar as she was the only Warlpiri participant in that<br />

1989 evening ceramics workshop whose work was influenced by that <strong>of</strong> another ceramicist, although<br />

before 1989 she had never tried her hand at making. Nungarrayi was, in fact, the only participant in<br />

the project who had any prior knowledge <strong>of</strong> ceramics. Before British colonisation there had been no<br />

<strong>Australian</strong> vernacular pottery tradition, although in recent years the number <strong>of</strong> Indigenous <strong>Australian</strong><br />

potters has been rising exponentially.<br />


Focus : Indigenous <strong>Ceramics</strong><br />

------<br />

<strong>No</strong>w part <strong>of</strong> the NGV's<br />

collection, Nungarrayi's two<br />

marvellous Ngarlkirdi Jukurrpa<br />

(Witchetty Grub Dreaming)<br />

ceramic works were strongly<br />

influenced, particularly in<br />

terms <strong>of</strong> their shape, by the<br />

work <strong>of</strong> the late Thaynakwith<br />

language-speaking<br />

Aboriginal potter, Thancoupie<br />

(Thanakupi). It transpired<br />

that about 10 years before<br />

the 1989 Lajamanu pottery<br />

project, Jeannie Nungarrayi<br />

had visited the pottery studio<br />

<strong>of</strong> the celebrated ceramicist<br />

Thancoupie at Trinity Beach<br />

in <strong>No</strong>rthern Queensland<br />

(personal communication from<br />

Jeannie Herbert Nungarrayi to<br />

Myra Nungarrayi Patrick, Warlpiri born c.1946. Warna Jukurrpa (Little<br />

Snake DreamingJ, 1989, earthenware, slip, glaze, h.8.2cm, w.24.Scm, d.21.7cm<br />

Purchased from Admission funds, 1991 (0.10-1991)<br />

Christine Nicholls, 1989). She met and talked with Thancoupie (1937-201 1) and observed her making<br />

the signature spherical and egg-shaped ceramic sculptures that she had begun to make c1976. At<br />

the Lajamanu workshop, Nungarrayi modelled her own largish, vaguely egg-shaped ceramic pots on<br />

Thancoupie's. That fortuitous meeting in the 1970s engendered in Nungarrayi an immense admiration<br />

for Thancoupie as person and potter, as well as for her advocacy, work and passion for Indigenous<br />

language maintenance. Nungarrayi also inclined towards Thancoupie's work because the Queensland<br />

Aboriginal woman was using her pottery as a means <strong>of</strong> expressing her own distinctive, coastal,<br />

Thaynakwith identity. In a similar vein, Nungarrayi conceptualised her own pots, painted with Tanami<br />

Desert Jukurrpa, as assertions <strong>of</strong> her own Warlpiri identity.<br />

While Nungarrayi's own loosely spherical, earthenware pots on which she painted the Ngarlkirdi<br />

Jukurrpa, an inheritance from her father and grandfather, were made with Thancoupie's work firmly in<br />

mind, the Warlpiri artist's splendid pots are by no means unmediated versions <strong>of</strong> the Queenslander's.<br />

Jeannie Nungarrayi did not photograph Thancoupie's work on her Queensland visit. but, nevertheless,<br />

almost a decade later Thancoupie's work emerged as an important conceptual influence on her own.<br />

<strong>The</strong> ngarlkirdi designs that Nungarrayi applied to her unglazed, relatively unadorned earthenware<br />

pots include references to small bushes called in Warlpiri punturnarri and puntalji, the roots <strong>of</strong> which<br />

are inhabited by ngarlkirdi (witchetties). Delightfully evocative figurative depictions <strong>of</strong> the actual grubs,<br />

classified by Warlpiri as pama (delicacies) adorn Nungarrayi's pots. <strong>The</strong> three-dimensionality <strong>of</strong> the<br />

work lends the little, white, bright-eyed creatures an air <strong>of</strong> squirming. Nungarrayi also includes subtle,<br />

minimalist, non-figurative representations <strong>of</strong> women collecting the grubs. Depicted as u-shapes, the<br />

women are accompanied by long, sharply pointed digging sticks used to dig up the roots <strong>of</strong> the small<br />

trees inside which these very tasty grubs subsist.<br />

By contrast, Myra Patrick Nungarrayi, an artistic individualist, represents her Warna Jukurrpa (Little<br />

Snake Dreaming, earthenware, slip, glaze) as an intricate matrix <strong>of</strong> fine dotting interspersed by small,<br />

writhing snakes associated with male initiation. <strong>The</strong> latter constitutes the major design element <strong>of</strong> this<br />

work. In terms <strong>of</strong> shape, this work suggests a Warlpiri parraja (coolamon). Parraja are medium-sized,<br />


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Biddy Napaljarri Rockman, Warlpiri born early 1940s, Warlu<br />

Jukurrpa (Bush Fire Dreaming), 1989 earthenware. h.S.8cm<br />

w.45.2cm, d.23.4cm; purchased from Admission Funds, 1991<br />

(0.11·1991)<br />

mUltipurpose, concave wooden dishes or<br />

bowls made from yinirnti (bean trees),<br />

routinely used by women for collecting and<br />

carrying vegetable food, small animals or<br />

water. Also used for winnowing, and at<br />

times as head rests, parraja are deployed<br />

in specific ceremonial contexts as Jukurrpa·<br />

painted artefacts. <strong>The</strong>y are even used as<br />

babies' cradles, lined with s<strong>of</strong>t paperbark<br />

'sheets'. Parraja are strongly associated with<br />

Warlpiri women and Myra Nungarrayi's<br />

ceramic parraja reflects this. This work, which<br />

evokes a battle between two snakes during<br />

the Jukurrpa, is characterised by the artist's<br />

signature style <strong>of</strong> refined, delicate dotting.<br />

Claire Larrivee commented to Helen<br />

Stephens (Ibid, 1990:pSO) that in the course<br />

<strong>of</strong> the ceramics workshop the women<br />

became progressively more influenced by<br />

each other's work. Such influence was<br />

evident in the adoption by some <strong>of</strong> the<br />

younger artists <strong>of</strong> Myra Nungarrayi 's parraja<br />

form, but also in their emulation <strong>of</strong> the<br />

style <strong>of</strong> highly respected senior artist Biddy<br />

Rockman Napaljarri. Napaljarri's decorated<br />

earthenware Warlukurlangu Jukurrpa<br />

(Fire Dreaming) work provides an excellent<br />

example <strong>of</strong> the more conventionalised<br />

Warlpiri style typical <strong>of</strong> that era . This style,<br />

characterised by larger dotting, bold iconography, comparatively little infill, and marked by a gradual<br />

'flattening' <strong>of</strong> these earthworks, many <strong>of</strong> which began as high·sided bowls, certainly influenced many<br />

artists and their work, including Marlene Johnson Nampinjinpa's finely executed Warna Jukurrpa<br />

(Snake Dreaming).<br />

Barbara Morrison Nakamarra's earthenware work, Ngurlu Jukurrpa (Seed Dreaming), is the<br />

receptacle for a bold, dramatic although powerfully understated rendition <strong>of</strong> a Jukurrpa narrative based<br />

at a Warlpiri site called Miya Miya in the southern Tanami Desert. In both its painted and oral iterations,<br />

this Jukurrpa is subject to the intellectual copyright <strong>of</strong> Napurrurla and Nakamarra women in the<br />

classificatory aunt/niece relationship, and also <strong>of</strong> Jupurrurla and Jakamarra men, who are in a recursive<br />

father/son relationship. <strong>The</strong> attendant narrative is a lengthy exposition on a complex food chain that<br />

is immensely important to Warlpiri. Ancestral Nakamarra and Napurrurla women collect long grass<br />

seed stems that fall to the ground at and near Miya Miya, in order to make delicious, small seedcake<br />

dampers. Kurlukuku (the Diamond Doves), desert birds that opportunistically gather the same scattered<br />

seeds that float on the wind, compete with the women who are attempting to gather the tiny seeds in<br />

coolamons. At a lower level <strong>of</strong> the food chain come the ants, depicted by their nests, which are in turn<br />

interconnected by ant tracks. <strong>The</strong> latter signify the pathways <strong>of</strong> the female ants that collect and roll the<br />

tiny grass seeds along the red earth to eat and transform into milk for their baby ants. Traces <strong>of</strong> such<br />

ancestral activity are evident in Morrison's work.<br />


Focus: Indigenous Ceram ics<br />

-- ---- ------- ---<br />

Barbara Nakamarra Morrison, Warlpiri born 1969<br />

Ngurfu Jukurrpa (Seed Dreaming), 1989, earthenware<br />

h.3.&m, w.31.2cm, d.21 cm; purchased from Adm ission<br />

Funds, 1991 (0 .12-1991 )<br />

Conclusion<br />

<strong>The</strong> painted earthenware works made by the Lajamanu women ceramicists in the 1989 ceramics<br />

workshop led by Claire Larrivee and Francis Janssen embody visual evidence <strong>of</strong> a period <strong>of</strong> fertile<br />

artistic creation at Lajamanu. Works <strong>of</strong> singular felicity and grace, the Lajamanu ceramics seem to<br />

exude a tangible energy specific to Warlpiri people. <strong>The</strong> artworks created in this workshop also reveal<br />

the remarkable capacity and appa rent ease <strong>of</strong> the Warlpiri artist-ceramicists to adopt, adapt and<br />

transform what was essentially a foreign medium and tradition into an art form that is uniquely theirs.<br />

Unfortunately, since that inaugural workshop, not one member <strong>of</strong> this exceptional group <strong>of</strong> novice<br />

ceramicists has had the opportunity to create more ceramic works. <strong>No</strong>w, almost a quarter <strong>of</strong> decade<br />

on, it is time to reprise this exceptional group <strong>of</strong> women, most <strong>of</strong> whom are still living, and to convene<br />

another ceram ics workshop so that the Warlpiri women's ceramic works will resonate not just for the<br />

past but for the present and future.<br />

1 Stephens, Helen. 1990, 'laJamanu, Potting a Course for History', <strong>Ceramics</strong>, An and Perception, <strong>Vol</strong>ume 1, pp 50-<strong>51</strong><br />

Photos: Courtesy National Gallery <strong>of</strong> Victoria<br />

Marlene Johnson Nampijinpa, Warlpiri born 1957. Warna Jukurrpa (Snake Dreaming), 1989, earthenware, h3.4cm<br />

w.26.4cm, d.l &m, National Gallery <strong>of</strong> Victoria, Melbourne; purchased from Admission Funds, 1991 (0.13-1991 )<br />


Focus: Indigenous <strong>Ceramics</strong><br />

Wardell Cemetery, Ballina Shire, northern NSW<br />

Mosaicing a Memorial<br />

Indigenous women on Cabbage Tree Island developed a program with Ballina TAFE<br />

Outreach to meet a local need by using ceramic tiles to decorate headstones.<br />

In 2011, a partnership was formed between Bunjum Culture Matters, Ballina TAFE Outreach and<br />

People <strong>of</strong> the Reeds to run a mosaic course on Cabbage Tree Island. <strong>The</strong> People <strong>of</strong> the Reeds (meaning<br />

Cabbage Tree) is an Aboriginal Arts Group situated on Cabbage Tree Island. <strong>The</strong> island is situated 20<br />

kilometres south <strong>of</strong> Ballina and is surrounded by canefields and water. We are known as the Bunjulung<br />

Tribe. We, the ladies <strong>of</strong> the community, identified a need for an affordable way to create headstones for<br />

our people. Through consultations with Bunjum Cultural Matters and Ballina TAFE Outreach we were<br />

able to organise a mosaics course to be run on the island, This ran for the last six months <strong>of</strong> 2011 .<br />

We started with a small plaque to develop our technical skills before we started on the headstones.<br />

Before we could start mosaic work on the headstones, a cement core needed to be formed. A mould<br />

was made with formwork and then the headstones were cast in cement. <strong>The</strong> name plaques for the<br />

front <strong>of</strong> the headstones were created digitally and then made into a decal. <strong>The</strong> decals were A4 in size<br />

Women <strong>of</strong> the Reeds - mosaic class in the Art Shed<br />

Aunty Faye working on the back <strong>of</strong> a headstone

Focus : Indigenous <strong>Ceramics</strong><br />

A group effort<br />

Aunty Faye with her<br />

headstone at the <strong>of</strong>ficial<br />

ceremony at Wardell<br />

Cemetery<br />

<strong>The</strong> headstone <strong>of</strong><br />

Darren Warren Anderson<br />

and had all the individuals' details on them. <strong>The</strong>y were placed onto a glazed commercial tile and fired<br />

to 800°e. Metal framing was cut to border the plaques and then it was individually decorated in mosaic<br />

around the name plaque with their own designs. <strong>The</strong>se designs included imagery which was meaningful<br />

to our loved one in some way.<br />

Ballina Shire Council has also been supportive and has agreed to provide a cement base to mount the<br />

headstones. To our knowledge, this is the first time a project like this has been run and the ladies are<br />

very proud to be able to do this in the community for our loved ones who have passed on. We hope<br />

that other communities may find this project a creative and personal alternative.<br />

Yours sincerely,<br />

Leanne Anderson, People <strong>of</strong> the Reeds, Cabbage Tree Island<br />

Bunjum Culture Matters is funded by the <strong>Australian</strong> Government Indigenous Support Unit.<br />

<strong>The</strong> headstone <strong>of</strong> Bradley Samuel Anderson made by Renee<br />

Mosaic detail <strong>of</strong> fish by Aunty Faye

Focus: Indigenous <strong>Ceramics</strong><br />

Mapping it Out<br />

Hamish Swain documents a collaboration<br />

between Stephanie Outridge Field and<br />

Megan Cope<br />

Megan Cope, Meeanjin<br />

<strong>2012</strong>, mililary maps, Indian ink<br />

metallic paint on canvas diam.76cm<br />

Photo: courtesy artist<br />

"For a collaboration to be successful, it relies on the people involved to be creative, responsive, and<br />

communicate effectively to realise a common goal that everybody's happy with. <strong>The</strong> journey. however. can<br />

be like driving down a street with no map - you're never sure <strong>of</strong> the destination",<br />

Stephanie Outridge Field<br />

For Brisbane-based ceramicist Stephanie Outridge Field, collaboration has been a fundamental<br />

component to her career. Although not unheard <strong>of</strong> whilst she was training at the Sydney College <strong>of</strong> the<br />

Arts, she says the act <strong>of</strong> collaborating with fellow artists and community became a more mainstream<br />

practice when public art projeds came to prominence in the late 1980s and early 1990s. Ham ish Swain<br />

met with Stephanie to discuss her approaches to her work, and how these shape the overall outcome.<br />

Stephanie Out ridge Field (SOF): "When I was studying there was a strong gallery model that as an<br />

exhibiting artist, the works you made were put on a plinth, someone would buy it and they would walk<br />

away happy. You were trained to want people to adore you and your work. That soon changed, because<br />

the whole issue about public space and integrated art came to the fore. I did my first collaborative<br />

permanent work in 1987 in Dutton Park, Brisbane - a series <strong>of</strong> big ceramic columns - with the visually<br />

impaired community <strong>of</strong> Brisbane."<br />

Hamish Swain (HS): How do you find the process <strong>of</strong> collaborating compared to working alone?<br />

SOF: Well I do still exhibit but collaborating feeds me as an artist and stops me compromising. In<br />

the 1990s galleries were under duress and I found myself saying, "What should I make, what will<br />

be successful in the exhibition?" I wasn't making the work at my own direction; I was trying to<br />

second guess what the gallery would like or what the public would like. My work wasn't good as a<br />

consequence. This way when I have an exhibition it's about work that I want to put out there.<br />

Stephanie has recently completed a project with Brisbane-based artist Megan Cope. <strong>The</strong> project was<br />

Megan's first time working with clay as well as her first public art commission. After deciding that clay<br />

might be the most suitable medium for her work, she had approached Stephanie with paintings that she<br />

wanted to be realised in the public sphere.<br />

Hamish Swain interviewed Megan Cope about this collaboration: It is obvious that place plays an<br />

important part in this particular project - why is this so?<br />

Megan Cope (Me): <strong>The</strong> works are part <strong>of</strong> a series called After the Flood, which has been ongoing<br />

since 2009. <strong>The</strong>se works are geo-political maps where I appropriate military maps from the 1940s and<br />

generate futuristic watermarks, flood lines <strong>of</strong> a 5-metre sea level rise. I also delve into the history <strong>of</strong><br />

those geographical spaces and research the Aboriginal history, seeking to decolonise the landscape from<br />


Focus: Indigenous <strong>Ceramics</strong><br />

2 Stamped slabs, impressed and ready to cut<br />

3 Megan Cope painting bisqued tiles<br />

4 Stephanie Outridge Field rolling slabs with impressed<br />

slabs stacked ready for firing<br />

an environmental aspect and also from a language and cultural context. One <strong>of</strong> the things they (the<br />

commissioning agents) were looking for was an artist with a connection to that site and my family are<br />

from Moreton Island and <strong>No</strong>rth Stradbroke Island. <strong>The</strong> Nughie, Gorenpul and <strong>No</strong>onuccal people had<br />

connections with the Gubbi Gubbi or Kabi Kabi people <strong>of</strong> Redcliffe, and there was a lot <strong>of</strong> trade and<br />

interaction going on prior to colonisation so there was a definite connection to that site. <strong>The</strong> specific<br />

locations within this installation reference certain historical points in time. "Kau-in Kau-in" ('red like<br />

blood') at Skirmish Point is the name given by Captain Phillip after an altercation with the Turrbul<br />

people. "Humpybong" ('dead houses') is the name given by the Aboriginal people to the remnants <strong>of</strong><br />

the township left after Logan abandoned the establishment. I wanted to reference those three historical<br />

aspects and integrate them into the cultural landscape.<br />

HS: How have your collaborative experiences been prior to After the Flood, and how did you find<br />

working with Stephanie?<br />

MC: I have collaborated with other people, but this project is the first I've done where there's been<br />

such an extensive interdependence on each other's skills. After I got the commission, there were various<br />

ways [to proceedJ . Previous proposals and methodologies that I sought were not suitable, so the<br />

agency suggested using clay and working with Stephanie. Stephanie made me feel very confident that<br />

we would be able to maintain the aesthetic that I have in my maps and that its conceptual integrity<br />

would remain. Of course there were a lot <strong>of</strong> challenges, but we worked together quite well in terms <strong>of</strong><br />

problem solving and suggestions: Stephanie was able to say, "Yes, we should be able to do that!"<br />

Stephanie and Megan found an artistic kinship during the project, learning from each other during<br />

the six months working together. For Stephanie, maintaining the significance and integrity <strong>of</strong> Megan's<br />


Focus: Indigenous Ceram ics<br />

---<br />

1 Megan Cope and Stephanie Outridge Field review underglaze colouring<br />

2 Stephanie Outridge Field checking tiles and firing process<br />

3 Stephanie Out ridge Field, Kim Ogle and Glenda Stasse laying out the tile panels<br />

Opposite page<br />

1 Colour and texture test tiles alongside original painting<br />

2 Completed Nindi panel in workshop<br />

3 Completed Nindi panel laid out in darkened studio with resulting glow<br />

4 Stephanie Outridge Field applying decals to stamped rebate<br />

5 Single tile lettering with decal and rebated resin<br />

6 THe panel packed with plastic tile layout and images ready for delivery to the site for installation<br />


Focus : Indigenous <strong>Ceramics</strong><br />


Focus: Indigenous <strong>Ceramics</strong><br />

2<br />

1 Humpybong panel installed<br />

2 Nindi panel installed<br />

3 Kau-in Kau-in panel installed<br />

3<br />

original works was central to the success <strong>of</strong> After the Flood. Together they negotiated and navigated<br />

through possible techniques to arrive at the best translation <strong>of</strong> the work.<br />

SOF: I thought from the very beginning that these were very powerful works. When I began working<br />

with her I was more than happy to problem solve. I was happy to say, "I'll give it my best shot; it will be<br />

different to your paintings but hopefully it will have the same strength, and the conceptual integrity <strong>of</strong><br />

your ideas will cross that barrier into another material. " 50 instead <strong>of</strong> being a painting that wouldn't last<br />

in the public realm, this will be in the ground, rain, hail, shine or flood.<br />

I love working with people, seeing the joy on their face when there is a permanent expression <strong>of</strong> who<br />

they are in the public realm. I've worked with people making work for permanent installation and they're<br />

proud because they were included. <strong>The</strong>ir artwork is recognised and their contribution is valued . Giving<br />

voice to people through permanent clay is key to what I do. It just so happens that I'm a ceramic artist<br />

and clay to me is the perfect cultural document; it's been the cultural document since the beginning <strong>of</strong><br />

time and I'm just part <strong>of</strong> the conversation.<br />

HS: What do you think is the most important piece <strong>of</strong> advice you could <strong>of</strong>fer anyone considering<br />

collaboration?<br />

SOF: I think the most important thing is establishing a basis for trust. It's not about you, it's about the<br />

project, and so the ego gets beaten out <strong>of</strong> you fairly quickly. <strong>The</strong> power play can be a disadvantage to<br />

the project as a whole, and I think the most successful collaboration is about having a common goal.<br />

In that respect, Megan was great to work with as she was very accessible and open to it and curious<br />

about what each <strong>of</strong> us had to <strong>of</strong>fer the project. <strong>The</strong> quality <strong>of</strong> the relationship you build with other<br />

artists certainly does come to bear on the quality <strong>of</strong> the outcomes. However, there is a balance between<br />

maintaining your integrity and satisfying someone else's demands because I don't want to just be a<br />

fabricator; I want to be a contributing artist. I don't want someone to come to me and say "make that<br />

blue" or "cover that seat," although sometimes you have to do stuff like that for financial reasons. <strong>No</strong>t<br />


Humpybong panel in Situ<br />

at Charfish Park, RedchHe<br />

Photographer:<br />

Tony Webdale<br />

everyone comes in saying "we embrace your philosophy Stephanie". My bread and butter are largescale<br />

collaborations, and they're not the icing on the cake, because I haven't had the icing on the cake<br />

yet. Well, emotionally I may have, but financially I haven't gotten to the s<strong>of</strong>t, sugary, delicious, let-meroll-around-in-cream<br />

joy <strong>of</strong> the giant superannuation payout stuff yet.<br />

It's true that Stephanie has an optimistic approach to the whole process, and one cannot help but<br />

resort to cliches when describing how she talks about the project. It's the sparkle in her eye, the big<br />

beaming smile, that makes it more than obvious that she simply loves working with clay and people.<br />

For Stephanie, using her experience and technical knowledge to assist others who have conceptual<br />

goals but are not sure <strong>of</strong> how to get there, is "the icing on the cake" .<br />

SOF: I think collaborations can be better than the efforts <strong>of</strong> the individuals. <strong>The</strong>re is a power in a<br />

collaboration that's beyond me making work or Megan making work or every single person in the<br />

community making work. <strong>The</strong> sum <strong>of</strong> the parts is greater than the parts in isolation. I think it's really<br />

worth it when you do something that's important to people's hearts and emotions. I thought years<br />

ago when I was training that we were becoming dehumanised; we were being identified by a lot <strong>of</strong><br />

numbers and getting more PINs and were increasingly not able to speak to humans face-to-face. This is<br />

the opposite <strong>of</strong> that. This is about the heart and soul and beliefs and trusts and efforts <strong>of</strong> real people, in<br />

real places.<br />

Stephanie Outridge Field: ceramicist, curator and writer, 0417 886 185<br />

Megan Cope: artist and curator, 0405 543 787; http://nutmegandhoney.blogspot.com.au<br />

Hamish Swain: freelance writer, 0418 455 101<br />

Tony Webdale: freelance photographer, 0401 816912<br />


Focus: Indigenous <strong>Ceramics</strong><br />

<strong>The</strong> Hermannsburg Potters<br />

Recent Work<br />

John Rigby looks at the evolution <strong>of</strong> their work since the late 1980s<br />

<strong>The</strong> Aranda people from Hermannsburg, a former Lutheran mission about 130 kms west <strong>of</strong> Alice<br />

Springs, initially established a reputation for their circle <strong>of</strong> watercolour painters. <strong>The</strong>se painters, almost<br />

all male, drew heavily upon the landscape compositional formats and watercolour techniques that Albert<br />

Namatjira had explored from the late 1930s until his death in 1959. <strong>The</strong> watercolours <strong>of</strong> Albert and his<br />

followers bridged European painting traditions with an indigenous understanding <strong>of</strong> the country, its tales<br />

and its totemic significances.<br />

From the late 1980s, a number <strong>of</strong> Aranda women adopted ceramics as their preferred expressive<br />

medium. Working together in a shared studio, they developed a highly distinctive form <strong>of</strong> terracotta<br />

pottery. <strong>The</strong>ir pots, constructed by coil techniques, are robust and energetic in shape rather than<br />

elegantly pr<strong>of</strong>iled and fastidiously symmetrical.<br />

Almost invariably - and this is one <strong>of</strong> the most striking features <strong>of</strong> the Hermannsburg pots - the pots<br />

are crowned by a hand-modelled lid. <strong>The</strong>se lid-sculptures portray an animal or a bird (which is generally<br />

native to the region) or a figure or set <strong>of</strong> figures, based upon individuals or generalised characters from<br />

the community. <strong>The</strong> body <strong>of</strong> the pot is painted in underglaze. Usually the creatures or the figures on the<br />

lid recur on the painted passages <strong>of</strong> the pot, but now they are represented in their habitat or, if figures,<br />

going about their working tasks, domestic duties or recreational pastimes.<br />

Unlike the indigenous Ardmore ceramic artists <strong>of</strong> South Africa - who tend to specialise in throwing,<br />

modeling or glaze-painting, and whose works are collaborative - each Hermannsburg pot is formed,<br />

sculpted and underglaze-painted by a single individual.<br />

Currently, the core potters include Irene Mbitjana Entata, Judith Pungarta Inkamala, Hayley Coultard,<br />

Lindy Panangka Rontji, Rahel Kngwarria Ungwanaka, Rona Panangka Rubuntja and Dawn Wheeler.<br />

Judith, Irene, Rona and Rahel have been central figures since the 1990s, and were amongst the thirteen<br />

potters featured in Jennifer Isaacs' important book Hermannsburg Potters: Aranda Artists <strong>of</strong> Central<br />

Australia, published in 2000.<br />

Over the last couple <strong>of</strong> years, the Hermannsburg potters have been reflecting on their community's<br />

history, particularly Hermannsburg's period as a Lutheran mission. Recent work has <strong>of</strong>ten found its<br />

subject matter in the events and the personalities <strong>of</strong> that period. For example, Albert Namatjira has<br />

figured thematically on a number <strong>of</strong> these pots, <strong>of</strong>ten paired with Rex Battarbee who tutored him<br />

in watercolour painting in the 1930s. In some <strong>of</strong> these recent pots, Albert has been portrayed in<br />

the company <strong>of</strong> his family, with his sons and other relatives following his passion for watercolour<br />

representations <strong>of</strong> the Hermannsburg region's plains, mountain ranges, and magisterial trees. In other<br />

works, Albert has been depicted while engaged on painting excursions with Battarbee, collegially<br />

comparing their watercolours and watching each other work. <strong>The</strong> Dodge B series ute, presented to<br />

Albert in the 19505, is celebrated on the lid <strong>of</strong> some pots.<br />


Rona Rubuntja<br />

Tourists at Hermannsburg<br />

2011, terracotta, underglaze<br />

h.50cm, w.27cm<br />

Photo: Michel Brouet<br />

Peter Pinson Gallery, Sydney

Focus: Indigenous <strong>Ceramics</strong><br />

-----<br />

Pastor Albrecht, who arrived in Hermannsburg in the middle 1920s and set about improving the<br />

material conditions <strong>of</strong> the community, is another historical character who has figured in recent works.<br />

<strong>The</strong> lids <strong>of</strong> these recent 'Stories from Hermannsburg' pots have become unprecedentedly complex.<br />

Rona Rubuntja's Palm Paddock Valley Outstation recalls her fond childhood memories <strong>of</strong> riding on the<br />

back <strong>of</strong> the family's old truck as they drove to the river for a fishing expedition. <strong>The</strong> lid portrays a packed<br />

group <strong>of</strong> young figures perched cheerfully but precariously on the rear <strong>of</strong> the truck. Hermannsburg life<br />

in the 1960s is further developed on the body <strong>of</strong> the pot, where the landscape incorporates a variety <strong>of</strong><br />

activities: threatening bats with sticks to drive them away from the mission's fruit trees; horse-breeding<br />

with the associated corrals and horse-floats; the collection <strong>of</strong> firewood for cooking; and the scrutiny <strong>of</strong><br />

water-storage tanks. As rich and panoramic narratives <strong>of</strong> a community's everyday life, a number <strong>of</strong> these<br />

social history pots invite comparison with the aerial views <strong>of</strong> village life painted by Pieter Bruegel the<br />

Elder.<br />

Some <strong>of</strong> the potters have preferred to continue to focus on the animals and birds <strong>of</strong> the area. Dawn<br />

Wheeler is particularly attracted to budgerigars, recalling spectacles <strong>of</strong> massed, swooping flights, and<br />

also their use as bush tucker. <strong>The</strong> sculptures on her pots' lids typically capture the subtle behaviours and<br />

1 Dawn Wheeler, Rosella Family. 2010, h.30cm 2 Irene Entata, M ission Days: Rodeo Stockman on Bucking Bull,<br />

2010, h34

Focus: Indigenous <strong>Ceramics</strong><br />

affectionate interactions <strong>of</strong> birds. <strong>The</strong> same birds may then be depicted aligned on a branch, frieze-like,<br />

in front <strong>of</strong> an expansive comparatively vacant Hermannsburg landscape.<br />

Rahel Ungwanaka is also notable for her birds, especially the owl. Her predatory owls confront the<br />

viewer, while behind them stretch Aranda landscapes <strong>of</strong> formidable boulders or shimmering, blooming<br />

plants. Rahel's pots emerge from a patient process <strong>of</strong> preliminary studies and she may only complete six<br />

pots a year.<br />

Like the Hermannsburg watercolourists, the Hermannsburg potters have linkages with European visual<br />

art traditions, but their attitude to their subject matter, to three-dimensional form, and to underglaze<br />

ceramic painting is highly personal and cont inues to evolve .<br />

John Rigby is the Manager/Art-Coordinator <strong>of</strong> the Hermannsburg Potters Aboriginal<br />

Corporation; www.hermannsburgpotters.com.au<br />

Hermannsburg Potters: Reflecting on the Past. Interpreting the Present.<br />

21 March - 14 April, <strong>2012</strong>, Peter Pinson Gallery, www.peterpinsongallery.com<br />

Editor's note: Many thanks to Peter Pinson for his assistance with the article.<br />

1 Irene E"tata, Mission Days-: Rubbing Salt Women, 2010, h.37cm 2 Irene Entata, Hermannsburg Stock Yards ,<br />

2011. h.42cm 3 Judith Inkamala, Albert (Namatjira), Rex (8attarbee) and Family. Painting Country, 2011 , h.56cm<br />

4 Dawn Wheeler, Budgerigars; Central <strong>Australian</strong> Landscape, 201 1, h.38cm 5 Lindy Rontji, Cockatoos. 2009.<br />

h. 4Scm 6 Lindy Rontji, Rocks (rom the Quarry. 2010, h.41 cm: all work is terracotta with underglaze.<br />

Photos: Michel Brouet; Courtesy Peter Pinson Gallery, Sydney<br />

4<br />

2<br />

S<br />

3<br />


Ricardo Idagi<br />

<strong>The</strong> Coconut, <strong>2012</strong>, glazed<br />

earthenware. h.34cm, w.27cm<br />

d.24cm; photo: Simon Anderson<br />

Courtesy artist and Vivien<br />

Anderson Gallery Melbourne<br />

Dec% nising, March <strong>2012</strong><br />

'WW'N.vivienandersongallery.com<br />

Ricardo Idagi - <strong>The</strong> Coconut<br />

A common practice <strong>of</strong> teasing someone is to call them a coconut - white on the inside and brown on<br />

the outside. This could also be called the tall poppy syndrome. It means you love white people and live<br />

their values even though you have a black skin. You disregard your own race and the values it holds.<br />

This coconut/tall poppy syndrome is so negative it has crippled me from a young age as I tried to<br />

integrate. <strong>The</strong> effect has been so great that I have lived on the fringes <strong>of</strong> society and still continue to do<br />

so today. Ever since birth as a Torres Strait Islander child I have had to adapt and my environment has<br />

been a strange and contrary world.<br />

In my family home, adults spoke 'Meryam mir', the traditional language. When I went to primary<br />

school on Mer, everyone spoke Pidgin, the Torres Strait Creole, except for the white principal who spoke<br />

English. As a Coconut, I would have preferred to converse in perfect English, then speak to my elders in<br />

Meryam mir and disregard the derogatory slave lingo, Torres Strait Creole. In using this lingo, people can<br />

continue to live in the perfect world <strong>of</strong> the second-class citizen; Creole is the language <strong>of</strong> slave labour<br />

in which we unthinkingly use expressions like 'kole' which originally meant master or boss-man; today,<br />

however, every white man is 'kole'. Continuing with this slave language, we even call our bros, 'coon'.<br />

"Bala speak da coon em come ya pass." (Tell that bloke to come here.)<br />


Focus: Indigenous <strong>Ceramics</strong><br />

New art facility at the Batchelor Institute <strong>of</strong> Indigenous Tertiary Education (SIITE)<br />

Batchelor Institute gets a<br />

new home<br />

Jacki Fleet reports from the Centre<br />

Batchelor Institute <strong>of</strong> Indigenous Tertiary Education (BIITE) is a major provider <strong>of</strong> Tertiary education and<br />

training to Indigenous clients from around Australia.<br />

<strong>2012</strong> is a year worth celebrating for the Batchelor Institute's Alice Springs Art and Craft Department,<br />

as our spectacular new art facility (with a focus on Indigenous ceramics) opens in June. BIiTE's operations<br />

in Central Australia have been progressively moving from the old Alice Springs campus to the Desert<br />

Knowledge Precinct (DPC) on the Stuart Highway south <strong>of</strong> Alice Springs. Within this precinct Batchelor<br />

Institute and the Centre for Appropriate Technology (CAT) have joined forces under the umbrella <strong>of</strong> the<br />

Desert Peoples Centre (DPC).<br />

<strong>The</strong> Art and Craft Department <strong>of</strong>fers Certificates I to III in Visual Arts and Contemporary Craft and<br />

Certificates I and II in Aboriginal or Torres Strait Islander Cultural Arts in block delivery, focusing on a<br />

variety <strong>of</strong> disciplines such as ceramics, painting, printmaking and textiles.<br />

<strong>The</strong> art facility at the DPC has a modern ceramics room and kiln room, and the expertise <strong>of</strong> lecturers<br />

Amanda McMillan (ceramicist) and Brigida Stewart (sculptor), both local artists from Alice Springs. <strong>The</strong><br />

Top End also has a ceramics facility in their workshop area in Batchelor, near Darwin. <strong>The</strong> art and craft<br />

building will also be home to the curator <strong>of</strong> the Batchelor Institute Art Collection, Stephen Anderson.<br />

This collection kicked <strong>of</strong>f more than twenty years ago, and is now making a significant and unique<br />

contribution to Indigenous art.<br />

<strong>The</strong> department works collaboratively with many communities, art centres and local Indigenous artists,<br />

aiming to be proactive in the growth <strong>of</strong> social enterprises within the region by assisting artists to refine<br />

their skills and knowledge in their chosen field. We are now well positioned to add to the strengths <strong>of</strong><br />

local communities and artists interested in developing and refining their product.<br />

Jacki Fleet is Senior Lecturer, Arts & Craft, Faculty <strong>of</strong> Education, Arts & Social Science at<br />

Batchelor Institute <strong>of</strong> Indigenous Tertiary Education.<br />

Contacts: Amanda McMillan, 0417 344 521; Brigida Stewart, 0417 805 987<br />


Focus: In digenous <strong>Ceramics</strong><br />

2011 Indigenous<br />

Ceramic Art Award<br />

A brief extract from the catalogue essay by Julie Gough, 'Up Close and Personal ­<br />

Diverse and Dedicated Indigenous Ceramicists in Australia'<br />

Every two years, Shepparton Art Museum hosts a unique exhibition and its associated art prize. <strong>The</strong><br />

Indigenous Ceramic Art Award showcases and encourages what has been for several decades a<br />

substantial yet relatively unassuming field <strong>of</strong> Indigenous artists Australia wide. Geographically and<br />

culturally diverse, most <strong>of</strong> these makers are busy with cultural obligations and are renowned for their<br />

art output in other mediums. <strong>The</strong>ir decision to explore the potential <strong>of</strong> clay, given demand on most for<br />

their other art forms, reflects a genuine embrace <strong>of</strong> ceramics by the makers.<br />

<strong>The</strong> expression <strong>of</strong> Indigenous ceramic art across Australia is diverse, but altogether it reveals a respect<br />

for continuity in tradition across extended families. Given the firing and transportation needs <strong>of</strong> clay it<br />

is a democratic medium; sharing <strong>of</strong> the clay and the kiln naturally affects a sense <strong>of</strong> studio liaison for<br />

many while making work and filling, firing and emptying the kiln.<br />

A faculty for experimentation and an attachment to the transmissive potential <strong>of</strong> this medium is the<br />

foundation for an arts movement steadily gaining Indigenous ground Australia wide. A non-curated<br />

art award such as this developed by Shepparton Art Museum <strong>of</strong>fers a unique insight into the state <strong>of</strong><br />

Indigenous arts generally. This year's exhibition reveals a cross-section <strong>of</strong> the shape Indigenous ceramics<br />

is taking.<br />

First prize winner Janet Fieldhouse references and impresses elements <strong>of</strong> various existent cultural<br />

practices into her field <strong>of</strong> ceramics. Tattoo, 2011, reveals a perceptive clarity in selecting what can<br />

translate into ceramics, what these cultural practices might bring to the medium, and what this<br />

medium will <strong>of</strong>fer to an increased understanding <strong>of</strong> these objects' significance. Her work is a rare<br />

combination <strong>of</strong> aesthetic power and an affecting conceptual insight that comes from being both in<br />

culture and with the medium at hand. Her working practices can be seen to explore or reproduce her<br />

culture in new ways, undertakings most evident in the work <strong>of</strong> the Tiwi, Hermannsburg, Girringun,<br />

Lardil and Ernabella artists.<br />

Fieldhouse is, however, not part <strong>of</strong> a school or group <strong>of</strong> ceramicists, and her pieces as a result reflect<br />

a quieter, more privately introspective journey <strong>of</strong> discovery or revelation generously shared with viewers.<br />

Keraflex flexible porcelain sheets are <strong>of</strong>ten used as they enable her to weave forms in the manner <strong>of</strong><br />

her Torres Strait Islander ancestors. She makes uncanny frozen, ghostly white armbands and other<br />

performance paraphernalia.<br />

In Tattoo, Fieldhouse extended the idea <strong>of</strong> seeing and scrutinising culture and its objects differently,<br />

out <strong>of</strong> context, by recreated a tattoo in white. In part translucent and set in the round as a light box,<br />

when activated it reveals the intricacies <strong>of</strong> body markings. <strong>The</strong> beauty <strong>of</strong> this object, all ied with its<br />

disconnection from an actual body, provides the work its disconcerting, captivating strength.<br />


Above:<br />

First Prize: Janet<br />

Fieldhouse, Community!<br />

language group: Torres<br />

Strait Islands; lives and<br />

works in Canberra, ACT<br />

Tattoo, 2011 , flexible<br />

porcelain with light box<br />

diam.3Ocm, d.1Ocm<br />

Photo: Matthew Stanton<br />

Courtesy artist and Vivien<br />

Anderson Gallery<br />

left: Joint Second Prize!<br />

Vidorian Prize: Vera<br />

Cooper, Communityl<br />

language group: Yorta<br />

Yorta; lives and works<br />

Echuca, VIC; Yorta Yorta<br />

Land and Law, hAOcm,<br />

Yorta Yarta Elde rs<br />

Along the River, h.22cm<br />

Yorta Yorta Generation<br />

h.39cm, 2010, Feeneys<br />

clay; photo: Matthew<br />

Stanton; courtesy artist<br />


Highly Commended: Nancy Wilson<br />

(ommunityllaoguage group: lardil<br />

Lives and works Mornington Island, OLD<br />

Barra mundi, 2010, ceramic. h.24cm<br />

w.SScm; photo: Matthew Stanton<br />

Courtesy artist. Mornington Island Art<br />

and Aleaston Gallery<br />

Yorta Yorta Elder Vera Cooper from Echuca on the River Murray was awarded both the second and<br />

Victorian prize for her triptych, three intimate figures each individually titled; Yorta Yorta Elders Along<br />

the River, 2011, Yorta Yorta Land and Law, 2011, and Yorta Yorta Generation, 2011. <strong>The</strong>ir<br />

intricate overlapping designs reveal multiple stories important to the artist, like the majestic. meandering<br />

waterways <strong>of</strong> the Murray River. the repetitive traditional geometric patterns <strong>of</strong>ten used on weaponry,<br />

and the silhouettes <strong>of</strong> her people, her community. Cooper's pitted and linear indented surface work is<br />

beautiful at a distance and exhilarating in detail.<br />

Sharing in second prize is Southeast Queensland Wakka Wakka artist Cynthia Vogler's Waterways<br />

and <strong>The</strong> Reef, 2010 - two assured and timeless pots, one dark, one light in tone, whose surfaces<br />

resemble polished river stones. Vogler says, "Clay work forms feel so natural and alive and allow me<br />

to connect with the more earthy nature <strong>of</strong> cultural expression and identity. "(Cynthia Vogler. artist<br />

statement, 2011)<br />

Highly Commended were both Emily Ngarnal Evans and Nancy Wilson, Lardil women from<br />

Mornington Island. Gulf <strong>of</strong> Carpentaria in Far <strong>No</strong>rth Queensland. <strong>The</strong>y have each rendered single piece<br />

sea creatures. Evans made the Spotted Stingray, 2011, and Wilson the Barramundi. 2010.<br />

Both works show convincing familiarity with the forms they depict and Spotted Stingray and<br />

Barramundi evince a strong sense <strong>of</strong> mobility as well as alluring surface markings. Barramundi's<br />

unexpected contrasting palette and thickly applied glaze is assured. luscious and clever. Spotted<br />

Stingra, on the other hand, appears deceptively simple. Barely worked, apart from multiple white dots<br />

on a raw clay surface, the singular treatment <strong>of</strong> the edge, eyes and curved tail show the absorption and<br />

redefinition <strong>of</strong> detail required to create what up close then becomes an uncanny entity.<br />

Joint Second Prize:<br />

Cynthia Vogler,<br />

Communityllanguage<br />

group: Wak'a Wakka.<br />

Turrbal, Yuggera; lives<br />

and works Cairns. QLD<br />

Waterways. 2010.<br />

raku, h.20cm, w.23cm.<br />

d.18cm; <strong>The</strong> Reef.<br />

2010. raku. h.23cm.<br />

w.20cm. d.21.Scm<br />

Photo: Matthew Stanton<br />

Courtesy artist

Highly Commended: Emily Ngarnal Evans, Community/Language group: lardi; lives and works Mornington Island, OLD<br />

Spotted Stingray, 2011, buff raku earthenware with underglazes, h.2Ocm, w.70cm. d.50cm; photo: Matthew Stanton<br />

Courtesy artist, Mornington Island Art and Alcaston Gallery<br />

<strong>The</strong> founding patron <strong>of</strong> the Indigenous <strong>Ceramics</strong> Art Award was Thapich Dr Gloria Fletcher AO <strong>of</strong><br />

the Dhaynagwidh (Thayankwith) people <strong>of</strong> Weipa in Far <strong>No</strong>rth Queensland.' Thapich passed away in<br />

2011 aged 74. She is the most well known Indigenous ceramicist, with the most recognisable forms<br />

in Australia . During decades <strong>of</strong> constant work in clay and committed dedication to her Napranum<br />

community, Thapich also managed to qu ietly inspire and encourage artists, many Indigenous, across<br />

Australia.<br />

Indigenous ceramic art is today valid and valued . In recent decades it has reached most communities<br />

and is accessible to makers in cities and rural centres. It has come as a democratising medium, <strong>of</strong> no<br />

fixed address. Transformative and malleable, clay represents a personal and cultural juncture through<br />

which the means to make change is at hand.<br />

This is a brief extract from the 2011 Indigenous Ceramic Art Award catalogue essay by Julie<br />

Gough, 'Up Close and Personal - Diverse and Dedicated Indigenous Ceramicists in Australia'.<br />

For the complete essay, please contact Shepparton Art Museum.<br />

www.sheppartonartgallery.com.au<br />

Finalists: Daniel Beeron, Maureen Beeron, Sally Murray, Trish Beeron, Eileen Tep, Vera Cooper,<br />

Malpiya Davey, Emily Ngarnal Evans, Janet Fieldhouse, Deanne Gilson, Christina Gollan, Jock<br />

Puautjimi, Mark Virgil Puautjimi, Robert Puruntatameri, Rona Panangka Rubuntja, Ellarose<br />

Savage, Tjunkaya Tapaya, Daisybell Nungala Virgin, Cynthia Vogler, Tjimpuna Williams and<br />

Nancy Wilson.<br />

1 'Thapich' is a title <strong>of</strong> respect used for the da:eased. It indicates that the artist's name IS not being spoken at the time <strong>of</strong> publication, In keeping<br />

with the tradItions 01 her community.<br />


--------<br />

Focus: Education<br />

Highly VISIBLE -<br />

winning strategies for<br />

ceramics departments<br />

What do you want first - the good news or the bad news? We all know the bad news: ceramics<br />

departments across Australia are being closed down. Painful news. Sad news.<br />

<strong>The</strong> good news is the number <strong>of</strong> ceramics departments that have survived bureaucratic slash-andburn,<br />

not only survived but are flourishing. For a country with a population <strong>of</strong> just under 23 million<br />

with at least 18 ceramics departments, in terms <strong>of</strong> ceramics education options, we are actually doing<br />

pretty well. On a comparison basis - in 2010 in the UK (pop. 62.3 million), the number <strong>of</strong> ceramics<br />

departments had been reduced from 33 to 10.<br />

However, with funding cuts hanging like the sword <strong>of</strong> Damocles over every department there is no<br />

room for complacency. Head teachers are now required to not only justify expenditure but also provide<br />

reasons for their department's continued existence. Running a ceramics department these days is akin<br />

to balancing on a ball while juggling knives - an act which requires skill, concentration and a certain<br />

fearlessness.<br />

Those <strong>of</strong> us in the ceramics industry all know the value <strong>of</strong> a good ceramics education, so why is<br />

this not apparent to those persons <strong>of</strong> im portance outside the industry - the politicians, education<br />

administrators, and the wider community? Rather than getting caught up in pointless discussions <strong>of</strong><br />

worth - ceramics is as good as (as worthy <strong>of</strong> decent funding as) fine art, glass, new media, competitive<br />

swimming etc. - we need to consider the issue <strong>of</strong> visibility.<br />

In our highly visually oriented society, one would think that any visual medium would automatically<br />

attract funding, but we must consider that politicians, administrators and many members <strong>of</strong> the wider<br />

community wear a different pair <strong>of</strong> glasses. <strong>The</strong>y look at ceramics through the lens <strong>of</strong> quid pro quo,<br />

which can be crudely translated as: You want support - we want results. Visible resu lts.<br />

Last year I learned that the Ceramic Design Studio TAFE Gymea is the largest ceramics department in<br />

Australia with 150 full and part time students and 17 full and part-time teachers. <strong>The</strong> most successful<br />

departments ask, "To whom do we need to be visible?" and, "How do we become visible ?" and<br />

have had the vision to develop strategies which address these questions. To investigate this, I spoke with<br />

Marian Howell (Ceramic Design Studio, Gymea TAFE [CDS]), Janet de Boos (ANU School <strong>of</strong> Art), Kim<br />

Martin (Holmesglen TAFE), Judith Roberts (Chisholm TAFE), John Stewart (Lismore TAFE) and Jo Crawford<br />

and Kirsten Coelho (UniSA South <strong>Australian</strong> School <strong>of</strong> Art, Architecture and Design [SASAAD]) to get<br />

an understanding <strong>of</strong> the strategies they had developed. <strong>The</strong> foremost target groups were educational<br />

administrators and students.<br />


Focus: Education<br />

Marian Howell with Advanced Diploma student<br />

Silvia D'Aveiro, Ceramic Design Studio<br />

Sydney Institute <strong>of</strong> TAFE, Gymea Campus<br />

Educational administrators<br />

All <strong>of</strong> the above departments have supportive<br />

immediate superiors. However, the higher you<br />

go within educational institutions and the<br />

wider the responsibilities <strong>of</strong> the administrators,<br />

the less visibility the ceramics department has<br />

within the overall organisation - so how can<br />

the department make itself visible?<br />

Showing up<br />

One approach is for the Head Teacher to be physically present at as many forums, teacher training<br />

sessions, personal development courses and joint social events, and on committees, as they are willing<br />

or able to be. Marian Howell (CDS) was on the Gymea TAFE Sustainability Committee. She and other<br />

CDS staff members decorated ceramic mugs for all Gymea teaching staff to bring to meetings, removing<br />

the need for plastic cups. <strong>The</strong>y also installed a water tank, using water from the ro<strong>of</strong> in the studio,<br />

which garnered them a sustainability award.<br />

<strong>The</strong> benefits are: creating awareness <strong>of</strong> the department's existence, which may not be a given;<br />

networking and establishing relationships w ith other department headslhead teachers; informally<br />

discussing plans and projects with superiors; and discovering new possibilities.<br />

Letting them know<br />

Short articles for the TAFE newsletter on any achievement or public activity help to maintain a<br />

department's pr<strong>of</strong>ile. Universities have different criteria. Janet de Boos (ANU School <strong>of</strong> Art) found<br />

that she was having problems getting coverage <strong>of</strong> her department's achievements in the academic<br />

newsletter. With the support <strong>of</strong> Pr<strong>of</strong>essor Anthea Callen, her department has recently produced articles<br />

on the school's research activities for reviewed journals and reports on grants received. <strong>The</strong> result:<br />

coverage on the school has doubled.<br />

Invitations to college heads to open/attend exhibitions/give awards and a gift <strong>of</strong> ceramics to thank<br />

them are regular and appreciated events. Marian Howell (CDS) takes this further by providing the<br />

college with up to 80 corporate gifts a year made by students to give to guest speakers and visiting<br />

delegation members.<br />

Partnerships<br />

Departments create a broader community by forming partnerships with other organisations and<br />

departments. For example, the ceramics department at SASAAD maintains strong relationships with the<br />

University glass department, Adelaide Centre for the Arts TAFE (ACA), the Jam Factory, ArtsSA and the<br />


Focus: Education<br />

Jack Troy critiquing results at ANU winter woodfire intensive, ANU School <strong>of</strong> Art, Canberra. ACT<br />

Helpmann Academy. Students come from ACA to SASAAD and then on to the JamFadory, with some<br />

then returning to give talks at the University. <strong>The</strong> Helpmann Academy provides grants for students,<br />

recent graduates and staff, for international and interstate visiting artist residencies and lectures in<br />

conjunction with TAFE, master classes in conjunction with JamFadory, and help with industry contads.<br />

<strong>The</strong> physical proximity <strong>of</strong> the SASAAD ceramics department, ACA and the JamFadory means that<br />

students can do cross-campus studies and visit the JamFadory for inspiration for continuing studio<br />

pradice. Charles Sturt University also supports cross-campus studies in partnership with TAFE.<br />

Partnerships with regional and private galleries, in addition to institutional galleries, are a win-win for<br />

the galleries and the departments. Joint projects expand a gallery's audience and provide a main street<br />

window for students' and/or staffs' work, raising the public pr<strong>of</strong>ile <strong>of</strong> both. CDS has regular exhibitions<br />

with Hazlehurst Regional Gallery, and Lismore TAFE has graduate students exhibiting at four Regional<br />

Galleries.<br />

TAFE now formally documents these partnerships, including those with TACA and local ceramics<br />

groups. Community Partnerships is currently a hot 'n'sexy buzzword for federal, state and local<br />

governments. As a short track to visibility, it is comparatively easy for a visual arts department to set<br />

these up.<br />

Outreach<br />

Outreach projects and programs create visibility for the department, both within the wider society or<br />

local community and the educational organisation.<br />

Outreach can vary from supporting a local ceramics group by lending them plinths, or a stall in local<br />

street fairs/festivals, to a major project such as the ANU SoA participation in the Remote Indigenous<br />

<strong>Ceramics</strong> Exchange Projed facilitated by Ge<strong>of</strong>f Crispin with artists from Ernabella, Hermannsburg and<br />

Tiwi/Bathurst Island, or convening forums, conferences or symposia (ANU SoA).<br />

Other examples <strong>of</strong> outreach are <strong>of</strong>fering technical advice to local schools that have ceramics classes,<br />

or supporting charity events such as the Cancer Council's Biggest Morning Tea by creating ceramic<br />


Focus: Education<br />

Glenn Rankin (DipAn) at a workshop in Jingdezhen,<br />

China, involving a Zisha ware teapot demonstration<br />

pieces for awards (CDS), or supporting<br />

fundraising for Sydney Childrens' Hospital<br />

(National Art School).<br />

TAFE NSW is prepared to <strong>of</strong>fer outreach<br />

programs tailored to local needs, such<br />

as the short course run last year at CDS<br />

specifically for carers <strong>of</strong> a person with<br />

disabilities.<br />

Students<br />

<strong>The</strong> challenge is to attract and retain<br />

students. Word <strong>of</strong> mouth is still as<br />

potent as ever, whether via a tweet or<br />

a conversation and several departments<br />

are now looking to social media such<br />

as Facebook. Some departments have<br />

websites that not only outline course<br />

details but also provide details <strong>of</strong> staff, facilities and showcase student work. Visibility online is a must<br />

as more and more people look to the internet for their information; check out TACA's online education<br />

directory.<br />

Navigating an education institute's website is not always straightforward. When you enter 'ceramics'<br />

as the search term, you may well be directed to irrelevant or archive pages. Easily accessible, informative<br />

and inviting web pages are always going to attract greater student interest.<br />

Rebranding can be useful to change perceptions. Marian Howell chose the name '<strong>Ceramics</strong> Design<br />

Studio' to give students a sense <strong>of</strong> intimacy and ownership and to create a more contemporary feel for<br />

the department.<br />

Outreach<br />

Outreach events as above, giving talks at schools, well publicised open days for the public and<br />

exhibitions are all important in creating visibility in the local community. Exhibitions where students at all<br />

levels sell their work at moderate prices can become an event that local residents look forward to (CDS).<br />

<strong>The</strong> only cost is a few flyers, but awareness <strong>of</strong> the department and the goodwill generated is invaluable.<br />

Kim Martin (Holmesglen) promoted their ceramics courses by showcasing students' work at the Atrium,<br />

Federation Square in Melbourne's CBO.<br />

Flexibility<br />

<strong>The</strong> majority <strong>of</strong> students these days are mature age students. Because <strong>of</strong> work, family commitments<br />

and income, they prefer courses that can be undertaken part-time or fulltime. Fortunately, as course<br />

completion is a high priority within TAFE, mature age students are predominantly very committed and<br />

will complete lengthy courses. <strong>Ceramics</strong> departments have responded to the needs <strong>of</strong> a wide student<br />

base by developing multiple options in course delivery, from evening classes for certificate courses to<br />

specialist modules for advanced students and master classes for those who have graduated but wish to<br />

widen their skills base.<br />

When ceramics is part <strong>of</strong> a broader visual arts course, a flexible approach can work well in attracting<br />

students. At SASAAO, Kirsten Coelho runs a one-day-a-week foundations course for students unfamiliar<br />


Focus: Education<br />

Scott Woodhouse, 3D animation<br />

sculpture made during Certificate IV<br />

in Visual Arts and Contemporary Craft<br />

at Holmesglen TAFE, Chadstone. VIC<br />

w ith clay. Half-day studio courses are also<br />

available. For advanced students, they <strong>of</strong>fer<br />

negotiated studies - students can propose<br />

a specific area they want to investigate and<br />

negotiate with the studio head and a teacher<br />

willing to take this on, for a half or full day.<br />

Keeping it fresh<br />

An open mind and willingness to take on new<br />

directions makes for a lively department. Kim<br />

Martin (Holmesglen TAFE) recently invited a film<br />

animator to teach her students 3D animation<br />

sculpting. Guest artists, artists in residence, and<br />

part time teachers teaching a specialised area<br />

- in addition to skilled, experienced staff - further contribute to maintaining student engagement and<br />

encourage ongoing study. Visibility can be raised by <strong>of</strong>fering specialised areas such as firing options. For<br />

example, in addition to the usual kilns, Lismore TAFE has four woodfire kilns and facilities for raku and<br />

pitfiring.<br />

Over the water<br />

In Europe, the response to the challenges that ceramics education faces is to move into<br />

interdisciplinarity, cooperation and collaboration with departments <strong>of</strong> Fine Arts (especially sculpture<br />

and installation), Architecture, Design, Science and New Media. This gives ceramics a high degree <strong>of</strong><br />

visibility as a discipline. At the National Academy <strong>of</strong> the Arts in Oslo, the ceramics department specialises<br />

in large-scale ceramics in the three areas <strong>of</strong> architecture, sculpture and public art. <strong>Ceramics</strong> students<br />

at MAD-Faculty Hasselt (Belgium) work together with the sculpture and design departments and<br />

pr<strong>of</strong>essional artists. Students from the Design Academy Eindhoven can do a six-week ceramics intensive<br />

at sundaymorning@ekwc. At the Fine Art department at Newcastle University UK, there is research in<br />

clay sculpture, particularly in mixed media, and collaborative research with other UK institutions and<br />

institutions in South Korea, India, and the Netherlands.<br />

Placing ceramics within the area <strong>of</strong> arts, and according it parity with other arts disciplines, has real<br />

benefits for the continuance <strong>of</strong> ceramics education and practice. However, skills acquisition can become<br />

an issue, with some departments choosing to outsource or work with found objectslreadymades rather<br />

than training students themselves.<br />

Another approach to creating visibility for ceramics education is a three-year national clay program<br />

initiated in the UK by the Crafts Council. <strong>The</strong> goal <strong>of</strong> 'Firing Up' is "to 'refire' kilns in schools and inspire<br />

learners ... with regional 'clusters' <strong>of</strong> a ceramics 'ambassador', a techn ician and up to ten students, and<br />

five secondary schools".<br />


Focus : Ed ucation<br />

Hirotsune Tashima conducting a portraiture class at a summer intensive at ANU, with ANU students plus an exchange group<br />

from Hongik University. Seoul, Korea<br />

In conclusion<br />

<strong>Ceramics</strong> departments will continue to face challenges. <strong>The</strong>re is a shift in <strong>Australian</strong> educational<br />

institutes towards online delivery and ongoing cutbacks, along with a government move to industry<br />

determining demand for courses.<br />

Keeping a ceramics department viable requires a high degree <strong>of</strong> visibility to educational administrators<br />

and students. This is being achieved in those <strong>Australian</strong> ceramics departments with an open mind, a<br />

flexibility <strong>of</strong> approach and the use <strong>of</strong> imagination, fuelled by dedication and passion.<br />

My gratitude to all <strong>of</strong> the above heads <strong>of</strong> department and teachers who were so willing to share their<br />

stories, experience and knowledge.<br />

References:<br />

Interviews with Marian Howell (<strong>Ceramics</strong> Design Studio, Gymea TAFE), Janet DeBoos (ANU<br />

School <strong>of</strong> Art), Kim Martin (Holmesglen TAFE, Chadstone), Judith Roberts (Chisholm TAFE,<br />

Dandenong), John Stewart (Lismore TAFE) and Jo Crawford and Kirsten Coelho (UniSA South<br />

<strong>Australian</strong> School <strong>of</strong> Art, Architecture and Design)<br />

<strong>The</strong> webpages <strong>of</strong> the above institutions<br />

Firing Up: www,craftscouncil.org.ukllearn/programmes/ firing-up<br />

Report <strong>of</strong> the symposium on the future <strong>of</strong> ceramics education, 's-Hertogenbosch, Netherlands,<br />

4-5 <strong>No</strong>vember 2011<br />

@ Karen Weiss <strong>2012</strong><br />

THE JOURNAL OF AUSTRALIAN CERAMICS JULY <strong>2012</strong> <strong>51</strong>

Promotion<br />

Hybrid Practice: A (brave?)<br />

and exciting new craft world<br />

Article by Sally Cleary, Senior Lecturer Object Based Practice, RMIT University<br />

Hybridity has become the buzzword in craft circles since the beginning<br />

<strong>of</strong> the 21 st century. As other artists such as painters, drawers and<br />

printmakers continue to investigate 'new' areas <strong>of</strong> art practice such as<br />

ceramics, textiles, and metal work, the borders between the arts and<br />

crafts are becoming blurred around the edges. Today, ceramicists and<br />

other craft practitioners are questioning their identity in order to keep<br />

step with contemporary art and craft practice, and face the dilemma <strong>of</strong><br />

whether to stay true to traditional values or embrace the new wave <strong>of</strong><br />

cross media practice.<br />

In <strong>2012</strong>, <strong>The</strong> School <strong>of</strong> Art within RMIT University, Melbourne, has taken its first big step in combining<br />

course areas to actively encourage hybridity. Object Based Practice is one <strong>of</strong> the new course areas,<br />

combining the traditional courses <strong>of</strong> ceramics with gold and silversmithing so that students can move<br />

freely between the two (and other courses if they choose to), exploring new processes and concepts.<br />

Some might say that this 'brave new world' threatens the traditional values and skill level within these<br />

highly technical courses; however, in addressing these concerns, students are still <strong>of</strong>fered the choice<br />

to specialise in just one or both areas. <strong>The</strong>se new courses are about changing perception, the cross<br />

pollination <strong>of</strong> ideas and practice - it is only at this point that new forms <strong>of</strong> art can emerge.<br />

What does it mean to be a hybrid artisVcraft person/ceramicist in the 21 st century, and how can the<br />

concepts which surround hybridity, such as mixed and cross media be applied successfully to ceramic<br />

art practice? What have we got to gain from being hybrid artists, and what do have to lose if we do<br />

or don't embrace it? <strong>The</strong>se are just some <strong>of</strong> the questions that were raised at last years RMIT University<br />

Annual Object Based Practice Seminar Series, Practice as a Site for Enquiry II, which addressed the theme<br />

'hybridity'.<br />

New Zealand art historian and curator Damian Skinner entered the debate by suggesting that the<br />

current state <strong>of</strong> craft practice is entering its third wave: the first being the Arts and Crafts movement, in<br />

which the hand made was formulated as an antidote to the Industrial revolution; the second being the<br />

studio craft movement, in which craft became a vehicle for originality and artistic expression through<br />

one-<strong>of</strong>f or limited-production objects; and now the third wave, as a direct challenge to the artistic<br />

aspirations <strong>of</strong> second wave craft.<br />

Skinner warns <strong>of</strong> the popularity <strong>of</strong> DIY trends, which th reaten to upend craft hierarchies by<br />

downgrading high end craft skills such as metalworking, ceramics and glass. He concludes that "unlike<br />

third wave craft, which ventures out into the world engaging with its contemporary condition, second<br />

Opposite page: Robyn Hosking, MA student, Capital City Carnival Series: <strong>The</strong> Wing Walker. 2011, slipcast porcelain,<br />

fine silver. turntable. decals, glaze, lustre. mixed media, h.52c. w.42cm; photo: Jeremy Dillon. This page: detail <strong>of</strong> image<br />


Jia Jia Chen, Year 3 graduate, Porcelain Blanket, installation detail, 2011, marbled slipcast porcelain, cotton cord<br />

Photo: Andrew <strong>No</strong>ble<br />

wave craft is insular and more focused on preservation than adaptation to the contemporary moment in<br />

which it finds itself."<br />

If this is the case, then we need to address the subject <strong>of</strong> hybridity within the contemporary craft<br />

world and look at ways <strong>of</strong> joining the wider art communities instead <strong>of</strong> alienating ourselves.<br />

Breaking down the barriers has already created a new sense <strong>of</strong> freedom within the art school, with<br />

new courses such as Forming - a course which asks students to explore form through various processes<br />

such as plastic forming, slab forming and metal forming. Through this investigation, second year<br />

students are able to take concepts to another level, by trying new processes and combining them if<br />

they choose. New technologies, such as rapid prototyping and digital transfers crossed with metal and<br />

ceramics, also provide endless scope for development, particularly in the areas <strong>of</strong> design and production.<br />

In 2010 and 2011, RMIT students from <strong>Ceramics</strong> and Gold and Silversmithing won 50% <strong>of</strong> the Craft<br />

Victoria Fresh! Graduating student awards. <strong>The</strong>se students are selected from every tertiary art and<br />

design school in Victoria and are testament to the high quality <strong>of</strong> graduate work and innovation within<br />

these course areas. Within <strong>Ceramics</strong>, seven out <strong>of</strong> ten students explored concepts <strong>of</strong> hybridity either in<br />

the form <strong>of</strong> installation art or cross media practice in their final year. This is an exciting hybrid new world,<br />

and it has only just begun.<br />

, ~ " l<br />

) ~ - .<br />

'<br />

. '.,.:: .;'~<br />

.'<br />

.<br />

~ ... ,<br />

., ..<br />

- -<br />

left: Allona Goren, BA Year 3 graduale. Gold & Silversmithing<br />

Untitled #5, 2011, plastic forming, wooden beads, fine silver<br />

Photo: Jeremy Dillon<br />

Above: Erica Tursan O'Espaignet, Year 3 graduate, Stiff Life<br />

installation, 2011, sljpcast porcelain, sphagnum moss, wheat<br />

grass, stopgap video projection, wooden chair, photographs<br />

Photo: Sally Cleary<br />




BASED<br />

ARTAND<br />

DESIGN<br />

Object Based Practice is a specialised<br />

stream in gold and silversmithing and<br />

ceramics within RMIT's range <strong>of</strong> fine<br />

art programs at degree and<br />

postgraduate level.<br />

Object Based Practice continues to push<br />

creative boundaries and RMIT's students<br />

are regularly recognised for their work<br />

through national and international awards,<br />

publications and exhibitions.<br />

Discover more about this intricate field on<br />

3 August at RMIT's annual seminar:<br />

Practice as a site for enquiry.<br />

> For further information about the<br />

program or the seminar, contact<br />

mark.edgoose@rmit.edu.au<br />


National Education<br />

Pictorial Survey <strong>2012</strong><br />

<strong>No</strong>te: Due to a lack <strong>of</strong> space.<br />

full captioning <strong>of</strong> images is not<br />

possible. Please contad the<br />

editor if you would like more<br />

information on any image<br />

featured in this survey.<br />

2<br />

3<br />

<strong>Australian</strong> National University<br />

School <strong>of</strong> Art, ACT<br />

http://soa.anu.edu.au<br />

1 Anne Masters<br />

2 Ashley Baumann<br />

3 Michelle Lim<br />

4 Linda Davy<br />

5 Amy Hick<br />


Focus: Education<br />

Brisbane <strong>No</strong> 1h Institute <strong>of</strong> TAFE. Ithaca Campus. QLD<br />

www.bn.tafe.qld.gov.au<br />

1 Penelope Buntine<br />

2 Jennifer Eales<br />

3 Carmel Lumley<br />

Central Institute <strong>of</strong> Technology. Perth. WA<br />

www.central.wa.edu.au<br />

1 Kathy Allam<br />

2 Sigrid Ranze<br />

3 Pam Langdon<br />


Focus: Ed ucation<br />

Chisholm Institute <strong>of</strong> TAFE, Dandenong, VIC<br />

www.chisholm.edu.au<br />

1 Sui Lin Chan<br />

2 Ingrid Choo<br />

3 Lisa Scheuerlein<br />

1 Caroline Pie Bolton<br />

2 Bernadette Wood<br />

3 Lyndon Sendeckyj<br />

Holmesglen Institute <strong>of</strong> TAFE, Chad stone, VIC<br />

www.holmesglen.edu.au<br />

Hunter Institute <strong>of</strong> TAFE, Newcastle Art School, NSW<br />

www.hunter.tafensw.edu.au<br />

1 Denell Honey<br />

2 Sandra Flynn<br />


Focus: Education<br />

IIlawarra Institute <strong>of</strong> TAFE, Goulburn, NSW<br />

www.illawarra.tafensw.edu.au<br />

1 Antonia Throsby<br />

IIlawarra Institute <strong>of</strong> TAFE, Moss Vale, NSW<br />

www.illawarra.tafensw.edu.au<br />

3<br />

1 Carolyn Burridge<br />

2 Pauline Birnie<br />

3 Denise Rankin<br />

4 Irene Ross<br />

5 Sandy Purves<br />


Focus: Education<br />

-------<br />

La Trobe University, VIC<br />

www.latrobe.edu.au<br />

1 Maree Santilla<br />

2 Murray Ross<br />

3 Michelle Jackson<br />

National Art School, NSW<br />

www.nas.edu.au<br />

1 Alexandra Standen<br />

2 Melanie Jayne Hearn<br />

3 Mary-Anne Nidelkos<br />

4 Alana Wilson<br />


Focus: Education<br />

<strong>No</strong>rth Coast Institute <strong>of</strong> TAFE. Lismore. NSW<br />

httpJlnorthcoast.tafensw.edu.au<br />

1 Peter Salkeld<br />

2 Jenny Moore<br />

3 Julia Stewart<br />

4 Deb Loadsman<br />

<strong>No</strong>rth Sydney Institute <strong>of</strong> TAFE. Hornsby. NSW<br />

www.nsi.tafensw.edu.au<br />

1 Kimmie Kitamura<br />

2 Helen Shin<br />

3 Ingrid Tristram<br />

4 Kim-Anh Nguyen<br />

3 4<br />


Focus: Ed ucation<br />

----- --<br />

<strong>No</strong>rth Sydney Institute <strong>of</strong> TAFE, <strong>No</strong>rthern Beaches, NSW<br />

www.nsi.tafensw.edu.au<br />

1 Johanna Hildebrandt<br />

2 Elizabeth Cashmore<br />

3 Christopher Graham-White<br />

4 Christine MacKinnon<br />

5 Joey Burns<br />

6 Dianne Oliver<br />

7 Gorgi Armen<br />


Focus: Education<br />

RMIT University, VIC<br />

www.rmit.edu.au<br />

1 Kerry Peterson<br />

2 Tonia Kwok<br />

3 Erica Tursan D'Espaignet<br />

4 Callum Donald<br />

5 Anna Rowbury<br />

6 Esther Konings<br />


Focus: Education<br />

Southern Cross University. NSW<br />

www.scu.edu.au<br />

1 Louise Gregg<br />

2 Marianne Galuzzo<br />

3 Rebecca Simpson<br />

4 Miriam Salomon<br />

. .. ... ..<br />

· . ...... ..<br />

... .. .. .. .. .<br />

• t • • • •<br />

I ' . . ,<br />

.. ' ......... ..<br />

• • ' ...... .. i<br />

.... .. .. .. .."' .''<br />

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· ... .. .. .. .. .. ,<br />

i..:,:. : :.i.;'<br />

· .. .. ... .. .<br />

! ," .. " .. .. .......... '.<br />

TAFE SA. Mount Barker<br />

www.tafesa.edu.au 1 Tommy Rosser 2 Faye Gommers 3 Briony Bird<br />

TAFE SA. Adelaide College <strong>of</strong> the Arts<br />

www.tafesa.edu.au/adelaide-college-<strong>of</strong>-the-arts<br />

1 Sandra Sharma<br />


Focus: Education<br />

2<br />

4<br />

6<br />

Sydney Institute <strong>of</strong> TAFE<br />

Gymea, NSW<br />

www.sit.nsw.edu.au/gymea<br />

1 Mei Ling Wong<br />

2 Katherine Kapetanellis<br />

3 Nicky Parras<br />

4 Steven Gallop<br />

5 Rodney Grossel<br />

6 Silvia D' Aviero<br />

7 Ursula Burgoyne<br />



Focus: Education<br />

Tasmanian Polytechnic<br />

www.polytechnic.tas.edu.au<br />

1 Linda Burns<br />

2 Maree Taylor<br />

University <strong>of</strong> NSW, College <strong>of</strong> Fine Arts<br />

www.c<strong>of</strong>a .unsw.edu.au<br />

1 Hayden Youlley<br />

2 Santina Ingue<br />

3 Jon Mullens<br />

4 Thomas Mason<br />

5 Alice Couttoupes<br />


Focus: Education<br />

UniversIty -, B I "a<br />

BVA VIC<br />

www.ballarat.edu.au<br />

1 Della Rae (GogolI)<br />

2 Rachael Negri<br />

3 Kristeena Saville<br />

4 Matthew Briscoe<br />

5 Lisa Trip<br />

University <strong>of</strong> Ballarat<br />

Arts Academy. VIC<br />

www.ballaral.edu.au<br />

1 Peter Austin<br />

2 Janella Kerr-Grant<br />

2<br />


Focus : Education<br />

University <strong>of</strong> SA, South Australia School <strong>of</strong> Art<br />

Architecture and Design<br />

www.unisa.edu.au<br />

1 Nina Frigault<br />

2 Alison Smiles<br />

3 Briony Milverton<br />

3<br />

1 Susan Brown<br />

2 Janette O'Hanlon<br />

3 Suzie Olsen<br />

University <strong>of</strong> Southern Queensland<br />

www.usq.edu .au<br />

Western Sydney Institute<br />

Nepean College, NSW<br />

http://Wsi.tafensw.edu .au<br />

1 Alison Shore<br />

2 Deb King<br />

2<br />


Focus: Education<br />

Western Institute <strong>of</strong> TAFE. Mudgee. NSW<br />

www.wit.tafensw.edu .au<br />

2<br />

1 Belie Brooks<br />

2 Christy Robertson<br />

3 Brett Niven<br />

University <strong>of</strong> Sydney, Sydney College <strong>of</strong> the Arts. NSW<br />

http://sydney.edu.au/sca<br />

1 Kristi Pupo<br />

2 Susan Chen<br />

3 Debbie Nguyen<br />

4 Penny Philpott<br />

5 Kazuko Chalker<br />

6 Canbora Bayraktar<br />


View<br />

Head Land<br />

Rowley Drysdale discusses Stephen Roberts' latest work<br />

Historical narratives waver depending on who is telling the StOlY and how they are recorded .<br />

W inston Churchill allegedly said "history is written by the victors" , and Napoleon Bonaparte stated<br />

that "history is a set <strong>of</strong> lies agreed upon" . Both lived in cultures that had a particular, including written,<br />

method <strong>of</strong> recording history.<br />

Stories which only survive in an oral tradition, and have been transmitted across generations, are likely<br />

to undergo interpretational change and plausibly will have been reorganised to facilitate theme, if not<br />

morality.<br />

<strong>The</strong> same stories can also be reinterpreted in a purely visual medium, as in the case <strong>of</strong> Stephen<br />

Roberts' wonderfully cohesive exhibition, Headlands <strong>of</strong> the Sunshine Coast at the Cooroy Butter<br />

Factory on the Sunshine Coast, in March <strong>2012</strong>.<br />

This multi-dimensional exhibition included all three forms <strong>of</strong> storytelling and was richer for it. Its focus<br />

was on nine or so headlands found on the local coastline from <strong>No</strong>osa River to Pumicestone Passage. Th is<br />

region has a colourful Indigenous and European history and Roberts selected these geographical features<br />

as portals for historical, contemporary, oral, written and visual interpretation.<br />

He carefully scrutinised all aspects <strong>of</strong> the headlands, which he views from both land and sea (from<br />

his surfboard). <strong>The</strong> story is in the detail, and if he can conjure an alternate perspective while catching a<br />

wave, well, that's a bonus.<br />

In issue 4911 <strong>of</strong> <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>, Roberts published a poem about woodfiring.<br />

It is essentially a well crafted list <strong>of</strong> all the things he needs to bring to a firing, from, let's say, a box <strong>of</strong><br />

matches, to a tonne <strong>of</strong> sidestoke timber, to board wax. It's a revealing poem, not the least because you<br />

can eaSily tell the author is comfortable with the subject matter. Each tiny detail supports the one before<br />

and the one after. His latest work in the Headlands exhibition is not dissimilar.<br />

Roberts has been woodfiring for more than twenty years while busily working from his Palmwoods<br />

Studio on the Sunshine Coast. He is also a popular teacher at the Brisbane Institute <strong>of</strong> Art.<br />

On opening night, Aboriginal elder <strong>of</strong> the local Gabi Gabi tribe Bev Hand told a story which related to<br />

Roberts' installation, Pamphlet, Finnegan and Parsons.<br />

<strong>The</strong> story, told to her by her mother, concerned the first Europeans to have reached the Sunshine<br />

Coast. <strong>The</strong>y were castaways who had been sailing south from Sydney to the Illawarra district to take<br />

on cedar, when a storm blew them <strong>of</strong>f course. John Thompson perished at sea but eventually, in<br />

Opposite page:<br />

Stephen Roberts, Sea Devils, woOOfired stoneware and timber, h.3Ocm; photo: art ist<br />

Stephen Roberts, House on Potts Point (Alexa ndra Headlands), stoneware, h.3Ocm; photo: artist<br />


View<br />

Beverly Hand telling the story <strong>of</strong> Pamphlet, Finnegan and Parsons; photo: Marion Jonkers<br />

April 1823, the other three sighted land, went ashore and proceeded north, thinking the wind had<br />

carried them south. <strong>The</strong>y had in fact landed on Moreton Island, near Brisbane, a thousand kilometres<br />

north <strong>of</strong> Sydney. Regardless <strong>of</strong> their mis-direction they were befriended and assisted by the local<br />

Aborigines. Pamphlet turned back at Maroochydore, Finnegan at <strong>No</strong>osa and Parsons made it to Hervey<br />

Bay. Ultimately they were rescued. It is not hard to imagine the lost three reaching each subsequent<br />

headland, then gazing north expectantly, hoping to see Sydney.<br />

<strong>The</strong>se are the facts, but Hand's telling <strong>of</strong> the same story enhanced this narrative w ith much more<br />

emotionally loaded detail, and in so doing her retelling was more aligned with Roberts' handling <strong>of</strong> the<br />

subject matter.<br />

Roberts' choice <strong>of</strong> restrained colouring in Pamphlet, Finnegan and Parsons is achieved with thin<br />

layers <strong>of</strong> Shino and ash glaze, a combination which emphasised the textual character <strong>of</strong> the place, and<br />

appropriately underscored its very ambience and that <strong>of</strong> the associated story.<br />

Right from his student days, Roberts has experimented with ash glazes. Again one gets the feeling he<br />

is seeking out detail - tree types, degrees <strong>of</strong> temperature, small percentage alterations in formula - and<br />

that's the way many <strong>of</strong> the Headlands installations present.<br />

<strong>The</strong> viewer needs to take time to see, not merely look. Coupled with well edited texts, each one<br />

emanates a connectedness with the core themes <strong>of</strong> place, historical narrative and well-organised ceramic<br />

methodology. <strong>The</strong>y also tell you a lot about Stephen Roberts. It is possible to remove small components<br />

<strong>of</strong> each installation and enjoy them - the surfboard-fin-shaped waves, for example, the occasional<br />

ute, or the brooding headland shapes. Roberts has been making these types <strong>of</strong> forms individually for<br />

a number <strong>of</strong> years and, in retrospect, it seemed only a matter <strong>of</strong> time before they came together in a<br />

cohesive body <strong>of</strong> work like Headlands. What tied them together so neatly were the texts.<br />


Stephen Roberts. Romantic Scene, detail, stoneware, h.30cm; photo: artist<br />

As a local you want to thank Stephen for bringing the stories with him. It will enrich the experience<br />

when you next stand on, or fish from, or surf in front <strong>of</strong> one <strong>of</strong> those headlands.<br />

<strong>The</strong> Cooroy Butter Factory team should be congratulated for its curatorship. Alongside Stephen<br />

Roberts' work were gritty photographs <strong>of</strong> Cape York by Aboriginal photographer Paul Fry. This was art<br />

made by artists with dirt on their hands, or their lens, in the case <strong>of</strong> Fry. That dirt might not have turned<br />

to pay dirt in the conventional dollars and cents sense, but it did immeasurable good for the artists'<br />

reputations.<br />

Rowley Drysdale is a potter, a TAFE teacher and occasional writer.<br />

Endnote: When unloading a kiln last year Stephen Roberts extracted from a fire channel a beautiful<br />

'coral' encrusted ute. It was a larger form and, having sat under coals for many hours, it was born<br />

old, healthy and evocatively beautiful. Unfortunately, a few minutes later it was broken in an accident<br />

outside the kiln. When he emerged from the kiln to inspect the artwork he found it in broken pieces. A<br />

number <strong>of</strong> people were upset by the incident.<br />

Stephen is well known for his economic use <strong>of</strong> words. "Must have had a crash" was all he said .<br />

Headlands <strong>of</strong> the Sunshine Coast: Stephen Roberts was held at the Butter Factory Arts Centre<br />

in Cooroy, QlD, in March <strong>2012</strong>; www.stephenrobertsceramics.com.au<br />


--------~ - ---~-<br />

<strong>Ceramics</strong> +<br />

Harmonies and Dissonances<br />

Roy Ananda examines recent work by Wendy Fairclough and Honor Freeman<br />

Within its deceptively simple framework, the humble still life has, over the last few hundred years,<br />

served to articulate an extraordinary range <strong>of</strong> ideas and experiences. From the fevered imagination<br />

<strong>of</strong> Giuseppe Arcimboldo and the morbid allegories <strong>of</strong> the Dutch Masters to the formal invention <strong>of</strong><br />

George Braque and Ben Nicholson, the scope <strong>of</strong> the genre has proved to be enormous and continues<br />

to be expanded by countless contemporary artists. in their upcoming exhibition Echo at Sydney's Sabbia<br />

Gallery, Wendy Fairclough and Honor Freeman contribute to this continuum in their respective languages<br />

<strong>of</strong> glass and ceramics.<br />

While consisting <strong>of</strong> two discreet bodies <strong>of</strong> work, the exh ibition has grown out <strong>of</strong> a collaborative<br />

process <strong>of</strong> critique and conceptual development, bolstered by over ten years <strong>of</strong> friendship and collegiate<br />

practice on the part <strong>of</strong> the artists. Since meeting as students at the South Australia School <strong>of</strong> Art in the<br />

late nineties, Freeman and Fairclough have cultivated a shared aesthetic <strong>of</strong> elegant understatement and<br />

an acute sensitivity to the poetic possibilities <strong>of</strong> domestic objects in space. While a joint exhibition by<br />

these two artists seems like an entirely logical move, it is also a bold one. As an artist, coming across<br />

another practitioner whose work mirrors one's own can be bittersweet. On one hand, the experience<br />

can be validating, but on the other, the originality <strong>of</strong> one's own vision can seem undermined. However,<br />

rather than suggesting homogeneity, viewing the two artists' work together highlights important points<br />

<strong>of</strong> difference in their approaches and concerns .<br />

While broad descriptors such as 'personal' and 'political' are potentially reductive, they go some<br />

way to pointing to the distinct emphases <strong>of</strong> Freeman 's and Fairclough's work. it is not uncommon for<br />

Fairclough's installations and still life tableaux to derive from such weighty matters as the impact <strong>of</strong><br />

drought and wars fought over oil. <strong>The</strong>mes <strong>of</strong> industry and agriculture resonate through the new work<br />

presented in Echo and increasingly her practice focuses on the common, shared experiences and needs<br />

<strong>of</strong> human beings across cultures. Conversely, Freeman's work is invariably tied to more intimate and<br />

singular engagements w ith the world around her: marking the passage <strong>of</strong> time, commemorating daily<br />

domestic ritual, and even indulging in the odd visual pun.<br />

<strong>The</strong>se divergent yet complementary concerns with universal and individual experience are subtly<br />

reflected in the works' materiality and physical presence in space. While both artists undertake to<br />

wrench the still life from the traditional, two-dimensional pictorial space <strong>of</strong> painting, the translations into<br />

three dimensions via glass and ceramics operate very differently. Translucent and ghost-like, Fairclough's<br />

glass brooms, buckets, pots and pans read as half-remembered dream objects that exist as much in the<br />

mind's eye as in a tangible reality. More concerned with a generic idea <strong>of</strong> 'bucket' (or any other given<br />

object) than the specific physical fact, the artist prioritises the object's broader metaphorical potential.<br />

Freeman's porous and opaque surfaces on the other hand, register a far more palpable presence. Trading<br />

in illusion and frequently employing a kind <strong>of</strong> three-dimensional trompe l'oeil, her slipcast ceramic forms<br />

seem more immediate in their evocation <strong>of</strong> day-to-day experience. Be they worn and weathered bars <strong>of</strong><br />

soap, lemon juicers or stained c<strong>of</strong>fee cups, Freeman 's Objects bear apparent traces <strong>of</strong> activity and use,<br />

whilst <strong>of</strong> course being entirely without function. in this way, they seem to exist in a shared space with<br />

us, not solely belonging to the rarefied gallery environment. indeed, Freeman's objects have been known<br />

to make the occasional incursion into the 'real' world, in the form <strong>of</strong> slipcast power points affixed to<br />

public walls in Adelaide's west end or ceramic bread tags deposited in the coin return slots <strong>of</strong> public<br />


Top: Wendy Fairclough, Order, <strong>2012</strong>, cast lead crystal, h.22cm, w.30cm, d.21cm; photo: Craig Arnold<br />

Above: Wendy Fairclough, Clothe, <strong>2012</strong>, cast lead crystal, h.21cm, w.24cm, d.22cm; photo: Craig Arnold<br />



<strong>Ceramics</strong> +<br />

Honor Freeman, When Life Hands You Lemons, <strong>2012</strong>, slipcast and handbuilt porcelain, h.8.5cm, w.58cm, d.37cm<br />

Photo: Craig Arnold<br />

Opposite page: Honor Freeman, Wrong End Of <strong>The</strong> Stick, detail, <strong>2012</strong>, slipcast and handbuilt porcelain, h.3.5cm, w.52cm,<br />

d.38cm; photo: Craig Arnold<br />

phones. Like so many <strong>of</strong> her works, these curious moments <strong>of</strong> benign, three-dimensional graffiti elicit a<br />

double-take from anyone who encounters them.<br />

In producing works for Echo, Fairclough and Freeman have continued to pursue long-standing<br />

themes but have importantly allowed themselves the scope for experimentation and the testing <strong>of</strong> new<br />

possibilities. In the case <strong>of</strong> Fairclough's work, this is evident through the expanded repertoire <strong>of</strong> objects<br />

that populate her still life arrangements. joining the ranks <strong>of</strong> her more familiar motifs are increasingly<br />

obscure objects such as the kumara (sweet potato), industrial cotton spools, and a range <strong>of</strong> simple<br />

mechanical objects - clamps, hand drills, callipers and the like. <strong>The</strong> exhibition also encompasses the<br />

artist's first explorations into the light-filtering potentials <strong>of</strong> dichroic glass as well as an increasingly<br />

thorough investigation into the glass-casting process. Freeman also brings new strategies to bear<br />

on her practice, most notably in a new body <strong>of</strong> work derived from familiar expressions and idioms.<br />

Extrapolating on a range <strong>of</strong> well-known sayings until an appropriate ceramic analogue can be arrived at,<br />

the artist celebrates the stubborn optimism <strong>of</strong> finding silver-linings in clouds and remaining philosophical<br />

about life giving you lemons. Freeman's penchant for wordplay might prompt a closer examination<br />

<strong>of</strong> the title under which she and Fairclough bring their work together. In its most immediate reading,<br />

Echo would seem to refer to the close kinship and on-going dialogue between the artists' work: a farreaching<br />

chorus <strong>of</strong> call-and-response bouncing between Freeman 's suburban studio and Fairclough's<br />

workspace nestled in the Adelaide Hills. Importantly though, an echo is a reflection, not merely a copy,<br />

subject to change, transformation and slippage. <strong>The</strong> acoustic phenomenon <strong>of</strong> an echo also encompasses<br />

notions <strong>of</strong> cause and effect that are central to both artists' work. However, unlike an acoustic echo,<br />

which invariably fades with time, the work <strong>of</strong> Honor Freeman and Wendy Fairclough seems to only gain<br />

in its clarity and resonance.<br />

Roy Ananda is a South <strong>Australian</strong> artist and writer.<br />

Wendy Fairclough and Honor Freeman are represented by Sabbia Gallery, Sydney.<br />

Echo: 25 <strong>July</strong> - 18 August <strong>2012</strong>; Sabbia Gallery, 120 Glenmore Rd, Paddington NSW <strong>2012</strong><br />

T: 61 29361 6448; www.sabbiagallery.com<br />

This project has been assisted by the <strong>Australian</strong> Government, through the Australia Council<br />

for the Arts, its arts funding and advisory body, and ArtsSA.<br />


Up the Yoga Path<br />

Linley Boyle (left) and Karl demonstrating the Thrower's Twist<br />

Yoga in the Pottery Studio<br />

by Kari with Linley Boyle<br />

My yoga teacher is my pottery student. I have a pr<strong>of</strong>essional pottery studio; she has a pr<strong>of</strong>essional<br />

creative dance and yoga practice. We need each other!<br />

Many years ago, I discovered the joys <strong>of</strong> yoga; how a tired, achy body could be gently stretched and<br />

flexed out <strong>of</strong> pain and discomfort. I discovered muscles, and the ability to move in new ways. Twenty<br />

years later I realise my pottery practice has benefited greatly from my yoga experience. However, the<br />

day did arrive when telltale pains and aches began. I reassessed how I was using my body and muscle<br />

groups in the pottery and realised it needed some readdressing.<br />

Into the picture stepped yoga teacher Linley Boyle. Whilst in the studio, we discussed how to apply<br />

yoga to potters. Getting out the yoga ma t seemed inappropriate in the dusty studio, so Linley revised<br />

some postures for the pottery workshop. What emerged was a series <strong>of</strong> exercises that act as antidotes<br />

to the potter's habitual posture. Used before or after different jobs, they counter-stretch the body. My<br />

throwing is better as a result! One posture may even feel like a prayer to the wheel, and perhaps this is<br />

what is needed sometimes!<br />


Photocopy the double page <strong>of</strong> postures (pages 80 and 81) and cut into single numbered exercises. Pin<br />

them up around the studio - above your wheel, over the wedging bench, in front <strong>of</strong> the kiln. Intersperse<br />

each <strong>of</strong> your pottery tasks with a few yoga postures. Mindful pottery practice may mean a longer<br />

potter's life in the pottery, without pain.<br />

Kari - potter and marriage celebrant; karicelebrations.com<br />

Linley Boyle - Bodysong Creative Dance & Yoga<br />


Up th e Yoga Path<br />

In general, when doing yoga AND when potting:<br />

Be grounded, feet firmly planted with body weight evenly spread left, right, forwards, and backwards.<br />

Bend from the hips, not the waist, with a tall straight back<br />

Keep elbows in, and shoulders comfortably back, not slumped forward<br />

Have your chin tucked in, not jutting out<br />

Open the chest. Expand the lungs. Keep breath moving.<br />

Squeeze armpit muscles before using arms.<br />

Yoga postures and exercises (see drawings pages 80 + 81):<br />

1. Head and Neck Semi Circles: Loosens the neck muscles ready for a day's work in the pottery<br />

Look ahead. Turn head gently to one side, all the way, then slowly turn to the other side. Repeat slowly,<br />

several times.<br />

Drop head to one side. Slowly rotate down and round to the other side. Repeat slowly several times.<br />

2. Opening up the Chest: Loosens the shoulder muscles before wedging<br />

Clasp hands behind. Tummy in, open the chest, shoulders down.<br />

<strong>The</strong>n, clasp hands in front pointing index fingers down. Draw shoulders down and away from ears.<br />

3. Loosening the Shoulders: Takes out the tension <strong>of</strong> wedging, lifting or carrying<br />

Arms behind. One up and over your shoulder, one down and around. Hold a strap or rag or, if you can,<br />

your own fingers. Repeat with other arm, up and over.<br />

4. Potters Bends: Safe bending ... for everything!<br />

<strong>The</strong> most important thing with all forward bending is to first bend the knees.<br />

Engage core muscles. Stand straight, legs hip-width apart, toes pointed out.<br />

Place backs <strong>of</strong> hands over lower back. Bend knees! Slowly bend forward from the hips, not the waist,<br />

with a long spine. Keep knees over feet. Hold this posture. <strong>The</strong>n gently s<strong>of</strong>ten forward and hang with<br />

arms and head down. Sway gently, alternately bending one knee then other. Straighten by reversing<br />

through this process.<br />

5. Thrower's Twist: Counter-stretches the spine after throwing<br />

Sit tall on your wheel stool. Left hand holds stool, right hand holds left thigh. Twist gently and firmly to<br />

the left, then hold. Repeat on the other side. Repeat exercise periodically during throwing sessions.<br />

6. Going up the wall: Stretches back and shoulders during breaks<br />

Stand tall facing a wall, door or tall shelving, feet hip-width apart.<br />

Place hands, forehead and chest against wall.<br />

Step back and slide down a little, knees s<strong>of</strong>tly bent, for an upper back stretch.<br />

Step back again, long flat back, knees s<strong>of</strong>tly bent, for a hamstrings and shoulder stretch.<br />

7. Knees Up: Counter-stretches the hips - pottery uses a lot <strong>of</strong> external rotation <strong>of</strong> the hip<br />

Sit tall on throwing stool. Place one foot outside other thigh. Gently pull knee towards opposite armpit.<br />

Repeat on other side.<br />

And finally ...<br />

8. <strong>The</strong> Throwing Prayer: Counter-stretches the upper torso after throwing, glazing or wedging<br />

Place a towel on the floor behind your wheel. Kneel on towel, place elbows on wheel (with another<br />

towel for padding), prayer hands above head. Flat back, open across chest. Lengthen into the posture<br />

and feel a lovely stretch across shoulders. Pray for good pots.<br />


3. Loosening the Shoulders 4. Potters Bends

5. Thrower's Twist<br />

L<br />

I<br />

7. Knees Up 8. <strong>The</strong> Throwing Prayer

Ceramic Shots<br />

sub-VASE-ive Photographic Competition<br />

Conditions <strong>of</strong> Entry: Entries could be based on a vase you had made, a vase made by another person<br />

or even a photo <strong>of</strong> a vase. <strong>The</strong> critical aspect <strong>of</strong> the image is its subversiveness. This may arise from the<br />

making <strong>of</strong> the vase itself or its use, or it could be that the coaspect <strong>of</strong> the image is its subversiveness.<br />

This may arise from the making <strong>of</strong> the vase itself, its use, or the context in which the photographer<br />

places it. Entries are now closed. Look out for our details <strong>of</strong> our next photographic competition.<br />

1 Photographer: Gil Burgoyne<br />

Marrickville, Sydney NSW<br />

Ursula Burgoyne, Stick-ern-up<br />

Vase<br />

2 May <strong>2012</strong><br />

2 Photographer:<br />

Christine Gr€'9ory<br />

Shoal Bay Beach,<br />

Port Stephens NSW<br />

Martin Gregory<br />

4 May <strong>2012</strong><br />

Christine Gregory tells the story:<br />

Martin made the vase, and<br />

raku-fjred it, We took the vase<br />

to the beach yesterday evening<br />

to photograph it and a large<br />

unexpected wave washed it<br />

out. Martin dived in to search,<br />

the vase surfaced once then<br />

vanished. and he couldn't find<br />

it in the dark. Early this morning<br />

we went to look for it and by a<br />

miracle, Martin found it lying on<br />

the sandy bottom three metres<br />

down and rescued it.<br />

As he appeared I had my<br />

camera ready.<br />

3 Photographer:<br />

Annette Messenger<br />

Nelson Bay, NSW<br />

8 April <strong>2012</strong><br />

4 Photographer:<br />

Esa Jaske<br />

Editor's note: Due to the low<br />

number <strong>of</strong> entries, no winner<br />

was awarded (was the theme<br />

a bit too subversive?).<br />

All participants will receive a<br />

lAC 50th anniversary teatowel.<br />


Helen Fu ller in her JamFactory stu dio, 201 2; photo: Brad Bonar<br />

Impulse and Intuition<br />

Helen Fuller on her studio practice<br />

I am currently a tenant in the JamFactory <strong>Ceramics</strong> Studio in Adelaide. I have been a practising visual<br />

artist, exhibiting my work since emerging as a painter in 1979 from the South <strong>Australian</strong> School <strong>of</strong> Art.<br />

My career has been erratic, free falling across many art disciplines - painting, photography, installation<br />

and assemblage etc. Exhausted in 2009/10, I joined a suburban pottery class where I was instructed to<br />

make pinch pots and roll my first coils <strong>of</strong> clay. This is now the basis <strong>of</strong> my current studio practice.<br />

I prefer to bu ild my forms with South <strong>Australian</strong> Bennett's filtered terracotta clay. I feel at home with<br />

this clay, loving its humble earth qualities <strong>of</strong> colour, plasticity and feeling. It is sensual and obeying; it can<br />

be rolled and squeezed into forms, somewhat like knitting. Under tension it can be rolled tight or loose,<br />

add ing slack or reducing back. It leaves the maker'S rhythmic 'footprints' within the vessel's coiled walls.<br />

Forms can be pulled and tailored, shaped and cut with scissors. I find clay therapeutic and responsive to<br />

work with.<br />

I have sketchbooks on the floor next to my bed where I scribble away, thinking about pot forms as<br />

still life objects. I recall vessels from elegant museum collections, from the antiquities to rudimentary<br />

anthropological artifacts ... essays in material culture and plant fossils. I collect found objects from my<br />

dog walks and scrounge around in op shops for relics as I have an interest in archeological shards, which<br />

weave and inform, at a subliminal level, my studio practice.<br />


A shelf in Helen's studio: photo: Brad Bonar<br />

In the studio I may think to make one <strong>of</strong> those drawings from my journal manifest into an object, but<br />

in the casting <strong>of</strong> the ball <strong>of</strong> clay, the form intuitively evolves when the hand meets the clay and goes on<br />

its own journey.<br />

<strong>The</strong> BAG 2011 series evolved from being tired <strong>of</strong> cOiling in circles and a paper bag pinned to my wall<br />

<strong>of</strong>fset to coil in rectangles. <strong>The</strong> folds were an attempt to stop the walls <strong>of</strong> the form from collapsing<br />

in. Gravity makes interventions with the s<strong>of</strong>t clay and, to rectify the drama <strong>of</strong> 'a falling soldier', I have<br />

to meet the challenge <strong>of</strong> working with the clay. I use a hairdryer to stiffen the clay or a series <strong>of</strong> torn<br />

rag trusses and extraneous props to support the form if I need to. Sometimes it is a matter <strong>of</strong> laughing<br />

and farewelling the ego by simply slapping the clay into a new beginning .. . or going slower next time.<br />

Impulse and intuition is the way I work.<br />

I see my forms as 3D blank surfaces on which I choose to paint with underglaze, oxides and porcelain<br />

slip, applying imprinted patterns <strong>of</strong> found leaves and objects or making textured surfaces <strong>of</strong> indentations<br />

using a paintbrush, pencil or a shaped bamboo stick. I choose not to glaze the pots as I prefer the dull<br />

matte surface, which speaks to me about the painted still life form as object rather than the utilitarian<br />

vessel. But, it is something that causes angst - being a vessel yet not being waterpro<strong>of</strong>. This is something<br />

I may think more about.<br />

I am more concerned at challenging the clay as a material to build with and to creatively explore<br />

new forms rather than be bound up with technical perfection. I enjoy the process rather than having a<br />

considered outcome <strong>of</strong> product. At this point I am on my own journey and am keen to learn more about<br />

the clay as I proceed. As John Cage said, "Out <strong>of</strong> the work comes the work."<br />

Helen Fuller is represented by Place Gallery, Richmond. Victoria; www.placegallery.com.au<br />


Helen Fuller, Urn-shaped Vessel with Impressed<br />

Leaves, 2011, terracotta coiled pot, underglaze<br />

Photo: David Zhu<br />

Helen Fuller, Bark Cloth Series, 2011. white raku, coiled<br />

pots, applied underglaze and oxides; photo: David Zhu<br />


Studio<br />

Helen Fuller, Pantry, 2011, terracotta coiled pots, applied underglaze and oxides; photo: David Zhu<br />


Prue Venables speaks about<br />

Helen Fuller and her work at the<br />

opening <strong>of</strong> Fuller's exhibition, Pots,<br />

in <strong>No</strong>vember 2010 at Pembroke<br />

School, Adelaide, South Australia.<br />

A great admirer <strong>of</strong> Helen Fuller's<br />

paintings, I have so enjoyed viewing<br />

these and also reading various<br />

accounts <strong>of</strong> her references to patterns<br />

<strong>of</strong> domestic life.<br />

Helen's memories <strong>of</strong> cotton fabrics,<br />

encountered in the dirndl skirt sewing<br />

projects <strong>of</strong> early childhood and her<br />

Helen Fuller, Pair <strong>of</strong> Bag Pots. 2011. terracotta coiled pots with incised<br />

pattern, oxide and porcelain slip. tallest h.23cm; photo: David Zhu<br />

paternal grandmother Lily's gingham crossed stitched aprons with their links to her formative 1950's<br />

childhood education, excited me. I too met such things in my early days.<br />

I find these paintings both wonderfully evocative and familiar, while also admiring their colours,<br />

explorations and wanderings into inviting new territories - like steps away from the more regimented<br />

prints and patterns <strong>of</strong> fifties cloth into places <strong>of</strong> layering, <strong>of</strong> peeping between, slipping, random marking,<br />

staining and the arousal <strong>of</strong> imagination and wonder.<br />

It was with great excitement that I heard a whisper that Helen was beginning to make pottery. I<br />

wondered what she would make and how she would tackle that slippery and <strong>of</strong>ten difficult transference<br />

between two dimensional and three dimensional thinking.<br />

This transmission is never an easy task and Helen has quickly developed great skill, confidence and her<br />

own unique approach to this wonderful material, clay.<br />

A brief visit to Helen's home studio revealed to me the richness <strong>of</strong> her visual experiences and some<br />

<strong>of</strong> the sources <strong>of</strong> the freedom with which she explores this new medium. Her move to work in the<br />

<strong>Ceramics</strong> Studio at JamFactory has enabled me to see even more <strong>of</strong> this.<br />

I have been fascinated to see her use <strong>of</strong> drawings, colour swatches, even leaves and bones propped<br />

nonchalantly into small knobs <strong>of</strong> clay, then transformed magically into prototype shapes as models for<br />

new clay forms. Sometimes tools have taken on playful new responsibilities as end points or edges have<br />

been cut or a simple hanging stalk is deftly chopped with scissors.<br />

Helen described to me once her fascination with the way that when you squeeze clay "it goes<br />

somewhere ... so different to my own sense <strong>of</strong> the more static qualities <strong>of</strong> paper and canvas".<br />

<strong>The</strong>se pieces celebrate so clearly this notion <strong>of</strong> material movement, <strong>of</strong> lines constructing surfaces,<br />

<strong>of</strong> interior and exterior facades enveloping volume, <strong>of</strong> rims outlining space, and <strong>of</strong> wonderful colours<br />

dancing harmoniously together.<br />

her.<br />

Helen brings a whole new perspective to ceramics and is an inspiration for everyone who encounters<br />


Wedge<br />

Gerry Wedd<br />

"All art is subversive." Pablo Picasso<br />

Picasso knew all about subversion, employing subversive tactics when he first began<br />

working in ceramics in 1947. He worked at the Madoura pot1ery in Vallauris, decorating<br />

and producing over 2000 ceramic objects including utilitarian and sculptural objects.<br />

While much <strong>of</strong> the work referenced historical, classical ceramics, his approach subverted<br />

those idioms. He decorated plates and urns but also kiln furniture and bricks.<br />

For Picasso, the choice <strong>of</strong> ceramics as part <strong>of</strong> his art practice was a subversive one.<br />

Although many twentieth century artists produced some ceramic works, none at that<br />

stage had embraced the medium with such vigour. Clay was a material that fitted<br />

uneaSily with the mores <strong>of</strong> Modernism in the visual arts; it was largely the stuff <strong>of</strong><br />

kitsch, maquet1es and mass-production.<br />

<strong>Ceramics</strong> is always rubbing up against, or intersecting, the visual arts and design.<br />

Clay (ceramic) subversion seems to come from outside ceramics practice rather than<br />

from within. <strong>No</strong>table subversive works such as Duchamp's urinal, Lucio Fontana's<br />

pierced forms and, more recently, the urns <strong>of</strong> Grayson Perry, are clearly positioned<br />

outside crafts practice. Even pivotal clay works such as Peter Voulkos Rocking Pot<br />

were clearly informed by movements in the visual arts. Subversive works within<br />

ceramics practice have tended to be subtle (see Garth Clark's essay, Betty Woodman:<br />

Storm in a teacup in his book Shards) or have been produced by iconoclasts: think<br />

George Ohr. In the 1970s in Adelaide there was a bunch <strong>of</strong> 'ratbags' subverting the<br />

ideologies <strong>of</strong> studio ceramics, producing work that referenced china cabinet ceramics<br />

rather than the prevailing 'wabi-sabi' ethos. Interestingly. apart from Bruce Nuske and<br />

Christopher Headley. most <strong>of</strong> these artists moved away from clay.<br />

<strong>The</strong> theme (or at least the title) <strong>of</strong> the <strong>Australian</strong> <strong>Ceramics</strong> Triennale is Subversive<br />

Clay. Whilst the true meaning <strong>of</strong> that title may be ambiguous. its implication is fairly<br />

obvious, referring to works or activities that challenge current assumptions about<br />

ceramic (clay) practice - i.e. a 'subversive' clay wouldn't be clay at all or would at least<br />

not act in the desired clay manner during making or firing. <strong>The</strong> closest clay-related<br />

subversive activity I can think <strong>of</strong> in current practice is that <strong>of</strong> woodfiring <strong>The</strong> very act <strong>of</strong><br />

digging, making and firing (in wood ash at frightening temperatures) a clay body that<br />

hasn't gone through the filtering and adjusting <strong>of</strong> commercial bodies, is tantamount to<br />

subversion, challenging the prevailing commodified approach to much studio ceramic<br />

production.<br />

<strong>The</strong> choice <strong>of</strong> wood firing is a kind <strong>of</strong> act <strong>of</strong> subversion. It could be seen as a<br />

political act akin to the counter culture <strong>of</strong> the 1960s and 70s, the current 'occupy'<br />

movement and the various 'slow' activities growing by the day. If the choice to step<br />

outside established models <strong>of</strong> social order can be seen as an act <strong>of</strong> subversion, there<br />

may be a case that the choice to practise ceramics is inadvertently SOCially subversive.<br />

A livelihood which may entail weeks <strong>of</strong> making and developing work. decorating and<br />

experimenting with glazes, then exposing that work to extreme heat with a strong<br />

potential for disaster. is one that is out <strong>of</strong> step with cultural social norms, suggesting<br />

either subversion or a kind <strong>of</strong> madness.<br />


Project<br />

Jasmine Targett. Crumbling Ecologies, Craft Victoria, April <strong>2012</strong>; photo: courtesy Craft Victoria and the artist<br />

Crumbling Ecologies<br />

Jasmi ne Targett ponders on whether we can grow something new in the crafts<br />

Earlier this year, Craft Victoria hosted an exhibition by Jasmine Targett in which she commented on<br />

the steady decline <strong>of</strong> craft-based courses within Victorian tertiary educational institutions. Crumbling<br />

Ecologies, one <strong>of</strong> three works, was an ephemeral installation <strong>of</strong> over 35,000 handmade porcelain<br />

geraniums made by Targett with the assistance <strong>of</strong> more than 100 volunteering artists, crafters, students,<br />

teachers, curators and creative fellows in Victoria and New South Wales . <strong>The</strong> work was her response to<br />

the ongoing threatened closure <strong>of</strong> many media-specific courses across Victoria. <strong>The</strong> project examined<br />

the relevancy <strong>of</strong> these materials within contemporary arts practice and the impact the loss <strong>of</strong> educators<br />

will have on Melbourne's arts ecology.<br />

On the brink <strong>of</strong> crumbling, the porcelain geraniums embodied the story <strong>of</strong> their makers - the artists,<br />

teachers and students directly impacted by these threatened closures. Porcelain, a material known for<br />

both its strength and fragility, was used to denote the loss <strong>of</strong> educators and the knowledge they and<br />

their hands pass on. As the work lay on the floor <strong>of</strong> the exhibition space, it embodied the beauty and<br />

integrity <strong>of</strong> craft that is soon to be lost, the ecology that may be unable to regenerate. <strong>The</strong> outcome <strong>of</strong><br />

the work and its value was determined by the audience's response . Viewers were invited to take a leaf<br />

and pay what they thought it was worth.<br />

In many parts <strong>of</strong> the world there are geranium species that are critically endangered or extinct, whilst<br />

ironically, in Australia the garden geranium is on the <strong>Australian</strong> National Heritage Trust's Alert List for<br />


1 Geranium leaves drying after being<br />

dipped in porcelain slip<br />

2 Porcelain·dipped leaves layered on<br />

kiln shelves ready for firing<br />

3 Sneek peek inside the kiln at 350"C<br />

4 A porcelain-dipped leaf fished out <strong>of</strong><br />

the kiln at 450"C<br />

5 A porcelain-dipped leaf fished out <strong>of</strong><br />

the kiln at 550"C<br />

6 After the firing<br />

7 Fired porcelain leaves laid out ready<br />

for packing<br />

Thanks to Szilvia Gyorgy who<br />

photographed the eHorts <strong>of</strong> the Sydney<br />

artists who came together in March<br />

<strong>2012</strong> for the Crumbling Ecologies<br />

Project at Newington Armory Artists'<br />

Studios, Sydney Olympic Park.<br />

6<br />


Project<br />

I<br />

@<br />

Jasmine largett, Weather<br />

Barometer installation<br />

<strong>2012</strong> part <strong>of</strong> the Crumbling<br />

Ecologies Project held at<br />

Craft Victoria, Aplil <strong>2012</strong><br />

Photo: courtesy Craft VictOria<br />

and the artist<br />

Environmental Weeds. Although in danger <strong>of</strong> becoming a pest<br />

to Victoria's native flora and fauna, they are still one <strong>of</strong> the<br />

most popular commercially sold garden plants. In Melbourne,<br />

geraniums sit ambiguously between a plant and a weed,<br />

deriving connotations <strong>of</strong> being outdated and old fashioned.<br />

One <strong>of</strong> the key arguments used to justify the closure <strong>of</strong> the<br />

craft studios is that these materials and practices have become<br />

outdated and no longer relevant to contemporary arts practice<br />

and research. Targett used the geraniums as symbols <strong>of</strong><br />

the economic impact on the ecological equilibrium and the<br />

importance <strong>of</strong> actively preserving craft as a diverse form <strong>of</strong><br />

contemporary arts practice.<br />

Sitting alongside Crumbling Ecologies were two other<br />

works, <strong>The</strong> Beauty <strong>of</strong> Weeds and Weather Barometer.<br />

For more information on the these works and the project in<br />

general, please visit http://crumblingecologies.blogspot.com.au;<br />

E: jasminetargett@hotmail.com<br />

Jasmine Targett acknowledges the assistance <strong>of</strong> her<br />

sponsors as important parts <strong>of</strong> the arts ecology:<br />

<strong>The</strong> City <strong>of</strong> Melbourne for the Arts Projects Grant,<br />

Clayworks for the supply <strong>of</strong> porcelain, and <strong>No</strong>rthcote<br />

Pottery for the use <strong>of</strong> their kiln facilities.<br />

Jasmine largett, <strong>The</strong> Beauty <strong>of</strong> Weeds<br />

Installation, <strong>2012</strong>, part <strong>of</strong> the Crumbling<br />

Ecologies Project held at Craft Victoria<br />

Photo: courtesy Craft Vidoria and the artist<br />


Join the Pots<br />

A collection <strong>of</strong> images <strong>of</strong> work by Janet DeBoos from the archives <strong>of</strong><br />

Pottery in Australia (PIA)I<strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong> (JAC), 1962- <strong>2012</strong><br />

Stoneware.<br />

high calcium<br />

glaze,<br />

woodfired<br />

1300"(,<br />

terracotta slip<br />

trailing<br />

Photo: Max<br />

OeBoos<br />

PIA, VoilS<br />

N02<br />

1976<br />

Stoneware Jars<br />

shine glaze<br />

PIA, <strong>Vol</strong> 18 <strong>No</strong> 2<br />

1979<br />

Storage Jar<br />

oxidised<br />

salting<br />

electric firing<br />

1300"(<br />

Photo:<br />

Alistair Hay<br />

PIA. voln<br />

<strong>No</strong> 1<br />

1983<br />

Platter, Different<br />

Approaches<br />

exhibition (with<br />

Richard Brooks.<br />

Rod Bamford and<br />

Dianne Peach) at<br />

Lake Russell Gallery<br />

C<strong>of</strong>fs Harbour<br />

PIA, <strong>Vol</strong> 23 <strong>No</strong> 2<br />

1984<br />

(I<br />

, ~- ~~.,<br />

,<br />

".....,.<br />

.<br />

..•. . ~--.-.-<br />

-.<br />

Breakfastware, porcellaneous stoneware. 1984<br />

PIA, <strong>Vol</strong> 24 <strong>No</strong> 2. 1985<br />

Teacup and Saucer, porcelain 1988<br />

PIA, <strong>Vol</strong> 28 <strong>No</strong> I, 1989<br />

I like to make things with clay. As such I make no distinction between<br />

functional and non· functional ceramics in terms <strong>of</strong> importance.<br />

At present I am engaged in the making <strong>of</strong> predominantly functional<br />

pottery and find it as challengjng and interesting as past excursions<br />

into the 'one <strong>of</strong>f'. <strong>The</strong> making <strong>of</strong> pleasing and functional pottery<br />

seems one <strong>of</strong> the most difficult areas in ceramics.<br />


Join the Pots<br />

Current<br />

production<br />

ware<br />

PIA, <strong>Vol</strong>2S<br />

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

1989<br />

A. ~<br />

ca<br />

.--- •<br />

• •<br />

Memories <strong>of</strong> the<br />

Domestic Life 1<br />

teacups, 1991<br />

<strong>The</strong> Meantng <strong>of</strong><br />

Function<br />

PIA, <strong>Vol</strong> 35 <strong>No</strong> 1<br />

1996<br />

Current production ware, dry glaze, hA5-48cm<br />

PIA, <strong>Vol</strong> 35 <strong>No</strong> 4, 1996<br />

Six PossibiUties for Monday Morning<br />

porcelain, cedar box; acquired<br />

Gold Coast City Art Gallery Collection<br />

PIA, <strong>Vol</strong> 36 <strong>No</strong> 1, 1997<br />

5aladier, <strong>Australian</strong><br />

porcelain, h.27cm<br />

JAC, Cover, <strong>Vol</strong> 44 <strong>No</strong>l<br />

2005<br />

-::;... .......... Chinese bone china ware<br />

2003, li"t casts<br />

Garniture Series,<br />

2010 porcelain decals<br />

glazed, h.25cm<br />

photo: ANU<br />

Photography<br />

JAC , <strong>Vol</strong> 50 <strong>No</strong> 2, 2011<br />


Trade<br />

Artist Run Initiatives<br />

around Australia<br />

For many artists entering the daunting world <strong>of</strong> exhibiting their work, the first port <strong>of</strong> call is an Artist<br />

Run Initiative (ARI). Wikipedia's definition <strong>of</strong> an ARI is "any project run by visual artists to present their<br />

and others' projects" . However, galleries can also be run by emerging curators or arts administrators<br />

looking to break into the industry by gaining experience at ground-level entry galleries. What these<br />

organisations have in common is the desire to show works from emerging artists in a low-cost,<br />

pr<strong>of</strong>essional environment.<br />

ACT<br />

M16 Artspace, Kingston<br />

http://m16artspace.com.au<br />

ANCA (Austral ian National Capital Artists),<br />

Dickson<br />

www.anca.net.au<br />

NSW<br />

Firstdrah Gallery, Surry Hills<br />

www.firstdraftgallery.com<br />

Gaffa Gallery, Sydney CBD<br />

www.gaffa.com.au<br />

Institute <strong>of</strong> Contemporary Art Newtown<br />

www.icanart.wordpress.com<br />

MOp, Chippendale<br />

www.mop.org.au<br />

Newcastle Art Space, Newcastle West<br />

http://newcastleartspace.blogspot.com.au<br />

Peloton, Surry Hills<br />

http://peloton.net.au<br />

SNO Contemporary Art Projects, Marrickville<br />

www.sno.org.au<br />

Spiral Gallery Cooperative Ltd, Bega<br />

www.spiralgallery.org.au<br />

<strong>The</strong> Cross Art Projects, Darlinghurst<br />

www.crossart.com.au<br />

Watt Space Gallery, Newcastle<br />

www.newcastle.edu.au/wattspace<br />

Workshop Arts Centre, Willoughby<br />

www.workshoparts.org.au<br />

At the Vanishing Point, Newtown<br />

www.atthevanishingpoint.com.au<br />

NT<br />

Darwin Visual Arts Association, Darwin<br />

www.dvaa.net.au<br />

Watch This Space, Alice Springs<br />

www.wts.org.au<br />

QLD<br />

Boxcopy, Brisbane<br />

http://boxcopy.org<br />

made. Creative Space, Toowoomba<br />

www.madecreativespace.com<br />

SA<br />

Gallery M, Oaklands Park<br />

www.gallerym.net.au<br />

FELTspace, Adelaide<br />

www.feltspace.org<br />

Seedling Art Space, Blackwood<br />

www.seedlingartspace.asn.au<br />

TAS<br />

Inflight, Hobart<br />

www.inflightart.com.au<br />

Sawtooth, Launceston<br />

http://sawtooth.org.au<br />

VIC<br />

Kings, Melbourne<br />

www.kingsartistrun.com.au<br />

Conical, Fitzroy<br />

www.conical.org.au<br />

Platform Artist Group Inc,<br />

Degraves Street Subway<br />

http://platformartistsgroup.blogspot.com.au<br />


69 Smith Street Gallery, Fitzroy<br />

www.69smithstreet.com.au<br />

Off <strong>The</strong> Kerb Gallery & Studios, Collingwood<br />

www.<strong>of</strong>fthekerb.com.au<br />

C3 contemporary art space, Abbotsford<br />

http://C3artspace.blogspot.com.au<br />

Blindside, Swanston St. Melbourne<br />

www.blindside.org.au<br />

WestSpace, Bourke St, Melbourne<br />

http://westspace.org.au<br />

Cowwarr Art Space, Gippsland<br />

www.cowwarr.com<br />

arc yinnar, Yinnar<br />

www.arcyinnar.org.au<br />

WA<br />

Ok Gallery. <strong>No</strong>rthbridge<br />

www.oktachoron.com<br />

FreeRange, Wellington St. Perth<br />

www.freerange.org.au<br />

Gotham Studios. <strong>No</strong>rthbridge<br />

http://gothamstudios.com.au<br />

Paper Mountain, <strong>No</strong>rthbridge<br />

www.papermountain.org.au<br />

Museum <strong>of</strong> Natural Mystery,<br />

Charles St, <strong>No</strong>rth Perth<br />

http://naturalmystery.org/<br />

Photos: courtesy Firstdraft Gallery, Surry Hills. NSW<br />

Keep up with the latest ARls:<br />

http://aripedia.org.au<br />

www.matchboxprojects.com<br />

http://crawl.net.au<br />


Artist in Residence<br />

Expectation and Experience<br />

Christopher Headley reports on the Artist in Residence Program at the<br />

Yingge <strong>Ceramics</strong> Museum in Taiwan<br />

<strong>The</strong> email that popped up on my computer screen in early June 2011 began, " .. . Congratulations!<br />

You have passed the selection process and are now one <strong>of</strong> the artists in residence in Yingge <strong>Ceramics</strong><br />

Museum. Yingge is a town which has been known as Jingdezhen <strong>of</strong> Taiwan . In order to preserve the<br />

town's cultural legacy, the museum continuously hosts different types <strong>of</strong> projects to give the town a new<br />

spirit <strong>of</strong> the times. <strong>The</strong> residency program is one <strong>of</strong> them. This is not only about passing on knowledge<br />

and techniques but also about communication between various aesthetics, regardless <strong>of</strong> form or time. It<br />

will surely broaden the vision <strong>of</strong> all, and you are sincerely welcomed to be part <strong>of</strong> this wonderful event. "<br />

I was thrilled to be selected so I took it up for the <strong>July</strong>-September period, which coincided with the<br />

2011 International <strong>Ceramics</strong> Festival held at the museum.<br />

<strong>The</strong> museum impressed with the many facets <strong>of</strong> its collection, the temporary exhibitions and its<br />

commitment to engaging with the general public. (Apparently, during the Summer Festival the museum<br />

welcomes 15,000 visitors through its doors on any Sunday.)<br />

<strong>The</strong> festival again demonstrated the high standing in which the art and craft <strong>of</strong> ceramics, as well as<br />

the artists themselves, are held in Yingge and in Taiwan, launching with great panache and publicity<br />

in the presence <strong>of</strong> local government <strong>of</strong>ficials, invited diplomats and the media. Fellow resident artists,<br />

Aya Murata from Japan and David Morris from USA were similarly impressed with the standard <strong>of</strong><br />

preparations for the festival, the variety <strong>of</strong> activities and the great enthusiasm <strong>of</strong> everyone involved. It<br />

felt great to settle into work in this environment with its rich history and tradition <strong>of</strong> ceramics and I had<br />

the privilege to be one <strong>of</strong> the first artists to use the pristine facilities in the spacious International Visitors<br />

Studio.<br />

I took note <strong>of</strong> an interesting space in the museum which was not being used over summer as it was<br />

too hot and unyielding for most people, including the museum staff. I thought, "What a challenge!"<br />

and proceeded to seek permission to use it. I set about planning a series (that in fact became a trilogy)<br />

<strong>of</strong> site-specific installations for the space.<br />

Before making the journey from Australia to Taiwan, my mind had been busy creating expectations<br />

<strong>of</strong> visiting a country with very different people, language, culture and traditions. After arriving, it did<br />

not take long before the differences seemed to diminish and, in f act, it was the similarities that became<br />

more apparent. Sure, the language was different, and the local culture and tradition were distinct, but<br />

people are fundamentally the same. My initial expectations were soon altered by the actual experience.<br />

Common Ground became the title <strong>of</strong> the trilogy, expressing my thoughts, feelings and experiences<br />

whilst travelling from one country to another. I invited Richard Mathews, an <strong>of</strong>ficial at the <strong>Australian</strong><br />

Commerce and Industry Office in Taipei, to launch the trilogy when the first installation was completed,<br />

half way into the residency. Each work would occupy the space for a period <strong>of</strong> two weeks .<br />

OPPOSite page: Christopher Headley, Restrained. 2011 , slipcast earthenware, clear glaze, ceramic decals and gold lustre<br />

w.2Sm, d.2m; photo: artist<br />


Christopher Headley, Revealed , 201 I<br />

slipcast earthenwa re, clear glaze, ceramic<br />

decals and gold lustre, w.2Sm, d.2m<br />

Photo: artist<br />

<strong>The</strong> first installation, Restrained, visually represented the 'before arrival' emotional state by a<br />

reference to an iconic <strong>Australian</strong> image. It was also a visual metaphor to express my contained emotions<br />

and, hopefully when viewed, to resonate with the viewer.<br />

Quoting from my artist statement for the Taiwanese audience " ... In Australia, early white settlers<br />

brought with them their possessions which, in some cases, included pets as well as animals destined<br />

to become a source <strong>of</strong> food. <strong>The</strong> rabbit was one such animal, that, when released into its new habitat,<br />

proliferated to plague proportions. It had no natural predators and soon spread westward. <strong>The</strong>se rabbits<br />

competed for food with the farm animals to such an extent that in Western Austra lia, farmers organised<br />

the construction <strong>of</strong> a fence from south to north to contain the rabbits and prevent them from spreading<br />

further west. <strong>The</strong> fence was almost 2000 kms long and was simply referred to as the 'Rabbit-Pro<strong>of</strong><br />

Fence' ... " Of course, the rabbit-pro<strong>of</strong> fence proved to be ineffective and could not restrain the rabbit<br />

population in Australia ... just as one's feelings cannot be contained for too long.<br />

This installation comprised <strong>of</strong> several hundred ceramic rabbits ...<br />

Installation art is interactive, experiential, sometimes confrontational, <strong>of</strong>ten contemplative, or simply<br />

good fun. Revealed was the second installation in which I visualised two themes. Firstly, the installation<br />

invited the viewer to become an archaeologist <strong>of</strong> the future, looking at findings or unearthed discoveries<br />

from the past - that is, from the present day - and also to recognise the 'common ground' <strong>of</strong><br />

childhood. <strong>The</strong> ceramic 'shards' were shapes that suggested animal toys from Australia (the kangaroo,<br />

koala, dingo and platypus), and Fruit Fighters, robotic toys I 'unearthed' in Taiwan. Here, they were<br />

discovered together in the same archaeological dig, engaging with the idea that. as children, we pass<br />

through our formative years playing with toys that appeal across boundaries. As we take on the complex<br />

challenges <strong>of</strong> growing up into adulthood, this unencumbered time <strong>of</strong> childhood becomes lost under<br />

layers <strong>of</strong> learned experiences.<br />

Revealed provided an opportunity for the viewer to revisit and contemplate this time <strong>of</strong> innocence.<br />

<strong>The</strong> second theme evoked the history <strong>of</strong> Chinese people who came to Australia in the mid-19th century<br />

to search for gold. <strong>The</strong>y left a significant footprint on the <strong>Australian</strong> cultural landscape - a cornerstone<br />

<strong>of</strong> the multicultural Australia <strong>of</strong> today.<br />


Artist in Residence<br />

Christopher Headley and Summer, Re·Positioned, 2011 , sHpcast earthenware. clear glaze. ceram ic decals and gold lustre.<br />

w.25m, d.2m; photo: artist<br />

This theme <strong>of</strong> cross-cultural mingling was continued in the third installation, Re-Positioned. For this<br />

work I arranged to collaborate with Summer, a local artist who paints in a traditional blue and white<br />

style. I produced the forms and Summer decorated half <strong>of</strong> them while I decorated the matching half in a<br />

Western style using printed ceramic decals.<br />

In this installation, two works were placed facing each other as if before a mirror. However, the<br />

'reflection' is not quite as expected for we see the surfaces that imply cultural differences yet the forms<br />

capture our essential similarities. We realise that our original perceptions and expectations are clearly<br />

altered by the experience <strong>of</strong> travelling. Re-Positioned attempted to visualise this altered state.<br />

<strong>The</strong> Yingge residency provided a most stimulating and rewarding chapter in my continuing artistic<br />

practice . I would like to thank Cheng Wen-Hung, Educational Promotion Department Chief, who<br />

looks after the reSidency program at the Yingge <strong>Ceramics</strong> Museum, for his enthusiastic support,<br />

encouragement and assistance throughout my time at the museum. <strong>The</strong> residency included a return<br />

airfare, use <strong>of</strong> the studio, studio support, basic accommodation near the museum, a $1000 materials<br />

allowance and a stipend <strong>of</strong> $20 per day. <strong>The</strong>re was an expectation <strong>of</strong> some kind <strong>of</strong> community<br />

involvement and the donation <strong>of</strong> some work to the museum's collection.<br />

www.christopherheadley.net<br />


Potters Marks<br />

Potters Marks<br />

Janet DeBoos<br />

Helen Fuller<br />

Dawn Wheeler, 2010<br />

Rosella Family<br />

Hermannsburg potter<br />

Christopher Headley<br />

Stephen Roberts<br />

1976 1990 1991<br />

1994<br />

Stephanie Outridge Field<br />


Vi ewed + Read<br />

Hodge Inkjet Print on Clay<br />

by Jenny Hodge<br />

A resource DVD for artists and teachers<br />

Duration: Method 48 mins; Keraflex 22 mins<br />

$55<br />

<strong>No</strong>w available online<br />

www.australianceramics.com<br />

or call 1300720 124<br />

Ceramic artist Jenny Hodge has put together a training DVD on her Hodge Inkjet Print on Clay<br />

technique. Hodge formulated this process in 2008 and has been refining it ever since. As an artist who<br />

uses printing on clay methods on my own work I was extremely interested in learning more about<br />

this technique, but like most printing on clay techniques this procedure also has its own limitations. It<br />

can, however, be used with great success on simple drape and slump mould forms or with Keraflex®<br />

porcelain sheets, which Hodge demonstrates.<br />

<strong>The</strong> DVD titled Hodge Inkjet, Print on Clay: A resource DVD for artists and teachers explains in a<br />

very slow and methodical fashion the process involved in printing from an inkjet transparency. This slow<br />

and detailed instruction may seem a little protracted and repetitive but it obviously follows a formula<br />

used in many high school educational training films. Even though videos <strong>of</strong> this technique can be found<br />

on the internet, this DVD provides comprehensive and concise step-by-step sequences that you cannot<br />

find online.<br />

<strong>The</strong> DVD is divided into distinct chapters which describe particular parts <strong>of</strong> the process . It thoroughly<br />

covers the topics <strong>of</strong>: Tools & Equ ipment, Select & Prepare the Image, Clay Preparation, Printing, Adding<br />

Definition & Colour, Getting Artistic, and Molding into Forms. It is filmed in a high school setting with<br />

the students setting up and demonstrating the printing procedures. <strong>The</strong>re are also interviews with the<br />

students and chapter summaries.<br />

Hodge should be commended on pursuing this unique printing process. Her website clearly states that<br />

she has spent many years experimenting and working through the failures to come up with this rather<br />

inexpensive and straightforvvard technique. <strong>The</strong> DVD cannot be faulted on its attention to detail and I<br />

am sure it will function well as an educational tool in the classroom. I however. found the sluggish pace<br />

to be a little tedious, but that could just be a symptom <strong>of</strong> the hectic fast-paced world that I inhabit or<br />

our rel iance on immediate and speedy information.<br />

Petra Svoboda<br />

E: petrasvoboda@hotmail.com<br />

www.petrasvobodaceramics.com<br />


Australia Wide<br />

act<br />

<strong>The</strong> nights are drawing in and the days are<br />

sometimes dreary but nothing can dull the<br />

enthusiasm <strong>of</strong> the clayworkers <strong>of</strong> Canberra,<br />

whether they are novice or more practised.<br />

Classes at the Canberra Potters' Society are full<br />

to bursting and workshops at CPS, the <strong>Australian</strong><br />

National University, Strathnairn Arts Association<br />

or elsewhere are attracting good numbers, as are<br />

the many galleries exhibiting ceramics.<br />

<strong>The</strong> annual Emerging Artist Support Scheme<br />

(EASS) exhibition for selected 2011 ceramics<br />

graduates from ANU and sponsored by the<br />

Canberra Potters' Society will be held at the<br />

Watson Arts Centre from 19 <strong>July</strong> until 5 August.<br />

This is always a high quality and exciting<br />

exhibition. <strong>The</strong> selected graduates for the <strong>2012</strong><br />

exhibition are Lucas Boswell, Melinda Brouwer,<br />

Erin Kocaj and Amy Hick (who is a recipient <strong>of</strong><br />

an inaugural Trudie Alfred Bequest Scholarship<br />

for <strong>2012</strong>). Other coming exhibitions at Watson<br />

Arts Centre include the Canberra Potters' Society<br />

Annual Members Exhibition and presentation <strong>of</strong><br />

the Doug Alexander Memorial Award, 13-30<br />

September, and Beyond the Surface, new<br />

ceramics by Debra Boyd-Goggin, Jacqueline<br />

Lewis and Alicia Kane, from 18 October to 4<br />

<strong>No</strong>vember.<br />

Visiting artist from the USA Adam Knoche will<br />

be in residence at Strathnairn Arts Association<br />

from mid-June until the end <strong>of</strong> <strong>July</strong>. Adam is a<br />

woodlirer, a good occupation for this time <strong>of</strong><br />

year in Canberra! In the Homestead Gallery, 20<br />

<strong>July</strong> - 5 August, Craig Edwards will be showing<br />

his latest ceramics in the exhibition Student <strong>of</strong><br />

the Red-Brown Earth.<br />

At the beginning <strong>of</strong> <strong>No</strong>vember, Canberra w ill<br />

welcome British potter Sandy Brown for a short<br />

season <strong>of</strong> lectures and workshops - sure to be<br />

special.<br />

Cheers, Jane Crick<br />

E: janecrick@dodo.com.au<br />

<strong>The</strong> Sydney region annual exhibition <strong>of</strong> TAFE and<br />

University students work A Fresh Perspective<br />

showcased some very impressive pieces at the<br />

Kerrie Lowe Gallery. Among the many talented<br />

emerging students was Susan Chen, a recent<br />

graduate from Sydney College <strong>of</strong> the Arts (SCA) .<br />

Chen's installation, Unwritten, was presented<br />

on a long wooden table, painted white, with<br />

five ceramic books placed in a row along the<br />

length. Each book had a scene sitting on top<br />

<strong>of</strong> the open pages in the style <strong>of</strong> a pop-up<br />

book. <strong>The</strong> fairy tales have been subverted to<br />

tell a cautionary tale <strong>of</strong> contemporary realities.<br />

Hayden Youlley from COFA displayed two distinct<br />

styles <strong>of</strong> work; the round lamp shades evoked<br />

visions <strong>of</strong> sunshine on cracking ice, while the slip<br />

cast vessels had the appearance <strong>of</strong> paper that<br />

had been scrunched and then straightened, very<br />

fine and fragile.<br />

Congratulations to the top NSW TAFE Diploma<br />

Student Medal winner, Izette Felthun. Izette<br />

exhibited her work in the exhibition following the<br />

students' show at Kerrie Lowe's with a complete<br />

body <strong>of</strong> work. <strong>The</strong> burnished and saggar-fired<br />

surfaces <strong>of</strong> the figurative forms imbued a tactile<br />

seduction to the simplified and harmonious<br />

forms.<br />

Back to Back Galleries celebrated their 20th<br />

anniversary in fine style with a tile exhibition,<br />

Tiles Tell Tales . Invitations were given to earlier<br />

members and friends <strong>of</strong> the gallery to produce a<br />

tile. Many tiles had a meat theme derived from<br />

the building's previous use as a butcher shop<br />

that had a long interesting history going back<br />

to the 1900s. <strong>The</strong> ever-efficient and voluntary<br />

Gallery Director, Kath Heinrich, is an amazing<br />

knitter. Kath knitted and stitched a sheep's head,<br />

impressed it into a clay slab, then soaked the<br />

knitted article in slip and fired them both to<br />

produce two unique tiles.<br />

A large selection <strong>of</strong> tiles can be viewed on<br />

www.newcastlepotters.org.au. An unexpected<br />

birthday gift was a grant from the NSW<br />

Government's Community Building Partnership <strong>of</strong><br />

$13,200 to put a proper ceiling in the workshop,<br />

a very welcome surprise.<br />

Watch out for Bowled Over Again, an<br />

exhibition and competition <strong>of</strong> amazing bowls<br />

at Back to Back Galleries opening on 14<br />

September, with Keane <strong>Ceramics</strong> giving awards<br />

for Best Bowl. For more information, email sue@<br />

ceramicartist.com.au.<br />

Sue Stewart<br />

E: sue@ceramicartist.com.au<br />

102 THE JOURNAL OF AUSTRAtlAN CERAMICS JULY <strong>2012</strong>

d<br />

<strong>2012</strong> is proving to be a very busy<br />

year for potters in SE QLD . <strong>The</strong><br />

main focus for the Gold Coast<br />

Potters Association has been their<br />

inaugural Art & Crafters Market,<br />

held in May, and the 3rd Empty<br />

Bowl event in June. With about<br />

600 bowls this year, it's been a<br />

magnificent ach ievement. <strong>The</strong><br />

silent auction attracted works from<br />

prominent artists Gerry Wedd,<br />

Ge<strong>of</strong>f Crispin, Sandy Lockwood,<br />

Michael Pugh, Len Cook, Stephanie<br />

Outridge-Field, Stephen Baxter, Su<br />

Brown, Peter Wallace, Anne Mossman, M ichaela<br />

Kloeckner, Megan Puis, Katherine Mahoney,<br />

Di Buckland and others.<br />

<strong>The</strong> Gold Coast Potters are conducting two<br />

workshops this year - Precious Gold Secrets<br />

with Midge Johansen on 29 <strong>July</strong>, and Raku Kiln<br />

Making (using Ikea metal bins) with Stefan Jakob<br />

from Switzerland to be held 26-28 October. For<br />

information go to www.goldcoastpotters.com.<br />

Entries have now closed for the Gold Coast<br />

International Ceramic Art Award, which will be<br />

held 25 August - 14 October <strong>2012</strong>;<br />

www.ceramicartaward.com.<br />

<strong>The</strong> Swell Sculpture Festival will be held on the<br />

C urrumbin foreshore from 14-23 September,<br />

<strong>2012</strong>; www.swellsculpture.com.au.<br />

<strong>The</strong> Wide Bay Burnett Potters 37th Convention,<br />

from 19- 21 October, will star five brilliant<br />

local potters - Gai MaCDonald, Janna Pameijer,<br />

Ian Reid, Stephen Roberts and Gary Zhai. <strong>The</strong><br />

cost is $75 for WBBP members and $85 for nonmembers.<br />

<strong>The</strong> convention is supported by an<br />

RADF grant from Sunshine Coast Council<br />

and Arts Queensland. Contact Debra for<br />

more information on 07 54562743 or email<br />

potterinpurple@hotmail.com.<br />

If any groups in SE QLD have news they would<br />

like to include in the next <strong>2012</strong> issue, please<br />

email me.<br />

Happy potting, Lyn Rogers<br />

E: romeo-whisky@bigpond.com<br />

kathryn Mitchell, Miro Constellation Series 2, exhibited<br />

in June <strong>2012</strong> in <strong>The</strong> Art <strong>of</strong> Spain group exhibition at<br />

19 Karen Contemporary Artspace, Mermaid Beach, QLD<br />

W ith the <strong>2012</strong> <strong>Australian</strong> <strong>Ceramics</strong> Triennale,<br />

Subversive Clay, approaching fast, Adelaide<br />

is abuzz with anticipation and conference<br />

organisation. With the help <strong>of</strong> various<br />

committees, project manager extraordinaire Amy<br />

Worth is pulling all the pieces together, for an<br />

amazing four days filled with discussion, debate,<br />

exhibitions and workshops.<br />

Exhibition highlights include Bruce Nuske<br />

and renowned furniture deSigner Khai Liew's<br />

exhibition, Irrational and Idiosyncratic, at the<br />

Samstag Museum. This collaborative show will<br />

explore the makers' shared interest in the 19th<br />

century European response to all things oriental.<br />

<strong>The</strong> Post-Skangaroovian Funk exhibit ion in<br />

UniSA's Kaurna Gallery will exhibit work that<br />

exemplifies the legacy <strong>of</strong> the Skangaroovian Funk<br />

movement <strong>of</strong> the 70s, which was characterised<br />

by non-functional ceramics that made social,<br />

political and cultural commentary. <strong>The</strong> sister<br />

show at the Art Gallery <strong>of</strong> SA exhibiting original<br />

artworks from this unique period. Another<br />

exhibition not to miss during the Triennale<br />

features Prue Venables, Kirsten Coelho, Bruce<br />

Nuske and Liz W illiams at BMG Art Gallery. And<br />

finally, Klaus Gutowski will have one <strong>of</strong> the few<br />

solo shows, at Peter Walker Fine Art. He was<br />

recently awarded the Helpmann Academy's<br />

Ashington Mentorship with the renowned Akio<br />

Takamori, who is giving a masterclass in the<br />

week preceding the conference and will remain<br />

in town to mentor Klaus.<br />


Australia Wid e<br />

Nicole Greenslade, Post Skangaroovian exhibition<br />

September <strong>2012</strong><br />

Recent exhibitions in Adelaide were Locavore<br />

at the JamFactory showroom in honour <strong>of</strong> the<br />

Tasting Australia Festival, celebrating locally<br />

grown, gathered and consumed food. <strong>The</strong><br />

exhibition curator was Wayne Mcara and<br />

included ceramics by Tjimpena and Anilyuru<br />

Williams, Jane Burbridge, Sunshine March, Jane<br />

Robertson and Angela Walford. JamFactory<br />

was also recent host to a Sandy Lockwood<br />

throwing workshop, which involved participants<br />

experimenting with alternative throwing<br />

techniques and the construdion <strong>of</strong> pieces<br />

using many thrown components. It was a great<br />

weekend with an amazing artist.<br />

And a final reminder to those who are not yet<br />

onboard, go to www.australianceramicstriennale.<br />

com, for the program, accommodation<br />

information and registration. Don't forget to<br />

register early for discounted rates. This is an<br />

event not to be missed!<br />

Sophia Phillips<br />

E: sophia@sophiaphillips.net<br />

tas<br />

Fired Up, held in April, was an exhibition <strong>of</strong><br />

ceramics by eleven Tasman ian clayworkers at<br />

the Burnie Coastal Art Group Gallery, opened<br />

by Greg Leong, Diredor <strong>of</strong> the Burnie Arts and<br />

Function Centre, and the Burnie Regional Gallery.<br />

It presented the artwork <strong>of</strong> recent graduates<br />

<strong>of</strong> the <strong>Ceramics</strong> Studio at the Tasmanian<br />

Polytechnic, Hobart - Carol Buissink, Kim Foale,<br />

Philadelphia Hanson-Viney, Linda Smith and<br />

Janet Walmsley - together with the ceramic art<br />

<strong>of</strong> established praditioners Christine Crisp, Kate<br />

Larby, Dawn Oakford, Robin Roberts, Bronwyn<br />

<strong>The</strong>obald and John Watson. <strong>The</strong> aim was to<br />

highlight what motivates these artists to create<br />

and why clay is their preferred medium. Whether<br />

producing tableware or sculpture, each <strong>of</strong> the<br />

artists is passionate about something, be it an<br />

issue, a technique, a time, a place, a process, or<br />

an experience.<br />

During May several members participated in a<br />

joint exhibition with the Art Society <strong>of</strong> Tasmania<br />

as a fundraiser for the Cancer Council. Showing<br />

in the picturesque Lady Frankl in Gallery and<br />

entitled Rose, the exhibition was themed around<br />

Picasso's Rose period and it was interesting to see<br />

what a wide variety <strong>of</strong> responses this produced.<br />

In addition to exhibiting individual pieces, we<br />

also participated in a working bee to hand paint<br />

slipcast cups and saucers that were subsequently<br />

fired by Dawn Oakford. <strong>The</strong> exhibition opened<br />

with a very well attended afternoon tea during<br />

which the teaware was purchased.<br />

As I write, we are eagerly anticipating a<br />

workshop to be conduded by Hungarian<br />

ceramicist Marta Nagy who is currently artist<br />

in residence in the ceramics department <strong>of</strong> the<br />

University Art School in Launceston.<br />

We're also hoping to attrad Sandy Brown to<br />

Tasmania at the end <strong>of</strong> her workshop tour up<br />

north.<br />

John Watson<br />

E: john@dmink.net<br />

vic<br />

Pottery Expo at Warrandyte was once again a<br />

most enjoyable experience, despite two days<br />

<strong>of</strong> extreme heat. It <strong>of</strong>fered a place to network,<br />

catch up w ith friends, talk about pots and<br />

techniques and generally enjoy the relaxed<br />

festival atmosphere. Many customers arrived<br />

early on Saturday to beat the heat and to get in<br />

early to choose from the wide variety <strong>of</strong> ceramics<br />

on display .. . and there was always the river for a<br />

quick dip to cool <strong>of</strong>f!<br />

<strong>The</strong> Melbourne Teapot Exhibition, at the Studio@<br />

Flinders, showed an interesting mix <strong>of</strong> teapots<br />

in all shapes, sizes and incarnations. <strong>The</strong><br />

standard <strong>of</strong> work was excellent with a larger<br />


Australia Wide<br />

than usual number <strong>of</strong> functional teapots. <strong>The</strong><br />

Functional Award went to Sarah Hogwood for<br />

a beautifully crafted, black glazed porcelain<br />

teapot - a quiet, understated form in which<br />

all elements came together beautifully to<br />

create a supremely functional teapot. <strong>The</strong> <strong>No</strong>n­<br />

Functional Award was won by Kimily Clark with<br />

T'Limpots, a very well conceived, fresh group <strong>of</strong><br />

teapot forms. <strong>The</strong> Highly Commended Walker<br />

Ceramic Award went to Jill Anderson and the<br />

Clayworks Encouragement Award was won by<br />

Rosie Hughes. Sharon Twining and Tania Jeffery<br />

received Highly Commended Awards and Tania<br />

Jeffery won the Peoples' Choice.<br />

<strong>The</strong> Decal Specialists and <strong>Ceramics</strong> Victoria Inc.<br />

have recently launched the Decal Award, an<br />

acquisitive award based on technical skill in both<br />

drawing and manufacture <strong>of</strong> the ceramic form.<br />

<strong>The</strong> acquisitive prize for the CV Inc. permanent<br />

collection is a generous $2000. <strong>The</strong> award will<br />

recognise the diversity and skill in the production<br />

<strong>of</strong> original studio ceramic work along with<br />

the challenge <strong>of</strong> marrying drawn designs with<br />

ceramic forms. Other manufacturer's awards will<br />

be given by Walker <strong>Ceramics</strong>, Clayworks and<br />

<strong>No</strong>rthcote Pottery, along with a Regional Award<br />

from Potters Equipment. <strong>The</strong> exhibition will be<br />

held in October <strong>2012</strong>. Entries close 14 September<br />

at 5pm. Entry forms and conditions <strong>of</strong> entry are<br />

available from http://ceramicsvictoria.org.au.<br />

Keep warm through the winter months and<br />

happy potting!<br />

Glenn England<br />

E: glennengland@optusnet.com.au<br />

All is quiet in WA, but much is happening.<br />

Sandra Black completes her memorable trip<br />

to Haian, China, as Graham Hay prepares for<br />

his June trip to the US for his sellout paperclay<br />

workshops in Michigan and Texas.<br />

Stewart Scambler's show <strong>of</strong> woodfired work<br />

including new forms will take place at Gallery<br />

East, opening on 21 September. Stewart will give<br />

a talk in <strong>July</strong> to the Art Gallery <strong>of</strong> WA guides on<br />

his work.<br />

After decades <strong>of</strong> making do with a cramped<br />

ceramics studio, Fremantle Art Centre (FAC) is<br />

opening a new ceramics teaching studio in a<br />

comfortable, large, stand-alone facility. With new<br />

kilns and more space, FAC will continue its longstanding<br />

association with WA ceramics, <strong>of</strong>fering<br />

more courses to students from Term 3.<br />

During May and June, Elaine Bradley, Artist in<br />

Residence in the ceramics department <strong>of</strong> Central<br />

Institute <strong>of</strong> Technology, created large handbuilt<br />

platters with printed and textural surface<br />

treatments. She also investigated the replication<br />

<strong>of</strong> Joan Campbell's printed tiles set into the jetty<br />

as part <strong>of</strong> the revitalisation <strong>of</strong> Bather's Beach,<br />

Fremantle.<br />

Cher Shackleton's work was included in the Lark<br />

500 Series book, Raku, the only WA artist to be<br />

featured.<br />

<strong>The</strong> Ceramic Arts Association <strong>of</strong> WA (CAAWA)<br />

Study Group continues with demonstrations by<br />

Helen Dundo, Greg Crowe and Cher Shackleton,<br />

plus Mike Kusnik's enlightening glaze talks.<br />

CAAWA's Annual Selective Exhibition takes place<br />

at ZigZag Cultural Centre Gallery, Kalamunda,<br />

15 <strong>July</strong> - 9 August.<br />

CAAWA's POTober <strong>2012</strong>, on 5, 6 & 7 October<br />

at Central Institute <strong>of</strong> Technology, Perth,<br />

comprises exciting workshops by international,<br />

national and local ceramicists. Activities include<br />

a BBQ, sale <strong>of</strong> pottery and an exhibition <strong>of</strong> the<br />

demonstrator's work in the Showcase Gallery.<br />

Information, registration and payment forms at<br />

www.ceramicartswa.asn.au/newslpotober-<strong>2012</strong>-<br />

workshops-central. <strong>The</strong> demonstrating artists<br />

include Royce McGlashen (NZ), Katrina Chaytor<br />

(Canada),<br />

Stefan Jakob (Switzerland) and Adil<br />

Writer (India). Interstate artists include Malina<br />

Monks and Merran Esson (NSW), with WA artists<br />

Ian Dowling, Greg Crowe, Njalikwa Chongwe,<br />

Robyn Lees, Bela Kotai, Heather Tailor, Cate Cosi<br />

and Andrea Vinkovic<br />

Narda McMahon's exhibition <strong>The</strong> Outsider<br />

is the next chapter in her exploration <strong>of</strong> the<br />

unusual with a collection <strong>of</strong> new works on paper<br />

and handbuilt clay sculptures. Opening at the<br />

Studio Underground Foyer at the State <strong>The</strong>atre<br />

<strong>of</strong> WA on 13 <strong>July</strong>, this show depicts a group<br />

<strong>of</strong> women throughout history who are anything<br />

but typical. Narda's exhibitions never fail to incite<br />

a response from the audience.<br />

Elaine Bradley lalab@iinet.net.au<br />



Stockists<br />

An<br />

canberra potters society<br />

1 aspinal sl watson<br />

national gallery <strong>of</strong> australia<br />

books hop parkes pi canberra<br />

walker ceramics<br />

289 canberra ave fyshwick<br />

NSW<br />

art gallery <strong>of</strong> nsw<br />

art gallery rd the domain<br />

sydney<br />

bathurst regional art gallery<br />

70-78 keppel sl bathurst<br />

bellingen newsagency<br />

83 hyde sl bellingen<br />

blackwattle pottery<br />

20 slennetl rd ingleburn<br />

brookvale ceramic studio<br />

11/9 powells rd brookvale<br />

c<strong>of</strong>fs harbour pottery supplies<br />

8 primrose ave mullaway<br />

essential object<br />

65 andy poole drv tathra<br />

gaffa<br />

281 clarence st sydney cbd<br />

gleebooks<br />

131 glebe pornt rd glebe<br />

goulburn regional art gallery<br />

cnrchurch and bourke SIS goulburn<br />

hazelhurst regional gallery<br />

782 krngsway gymea<br />

inner city clayworkers gallery<br />

cnr st johns rd & darghan Sl glebe<br />

keane ceramics<br />

177 debenham rd soulh somersby<br />

kerr Ie lowe gallery<br />

49-<strong>51</strong> king Sl newtown<br />

lake macquarie art gallery<br />

1 a f"SI sl booragul<br />

moochinside<br />

111 klilcare rd hardy's bay<br />

museum <strong>of</strong> contemporary art<br />

140 george st sydney<br />

new england regional art<br />

museum<br />

ken lucky st armidale<br />

northern rivers pottery supplies<br />

54d terania SI north lismore<br />

nsw pottery supplies<br />

41/159 artnur Sl homebush<br />

nulladulla potters<br />

princes hwy milton<br />

planet<br />

114 commonwealth st surry hills<br />

port hacking potters group<br />

po box 71 miranda<br />

sabbia gallery<br />

120 glen more rd paddington<br />

sturt craft centre<br />

range rd mittagong<br />

T<br />

museum and art gallery <strong>of</strong> the nt<br />

conacher sl fannle bay<br />

QD<br />

cairns regional gallery<br />

cnr abbott and shields SIS calms<br />

gold coast city gallery<br />

135 bundall rd surfers paradise<br />

north queensland potters<br />

association<br />

15 flowers SI townsville<br />

pottery supplies<br />

<strong>51</strong> casllemarne SI milton<br />

queensland art gallery<br />

stanley pi south bank<br />

the clay shed<br />

2124 hi-Iech dve kunda park<br />

art gallery <strong>of</strong> south australia<br />

north lerrace adelaide<br />

bamfurlong gallery<br />

main sl hahndorf<br />

the pug mill<br />

17a rose <strong>51</strong> mile end<br />

derwent ceramic supplies<br />

16b sunderland Sl moonah<br />

artisan books<br />

159 gertrude st fitzroy<br />

bendigo art gallery<br />

42 view <strong>51</strong> bendigo<br />

brunswick bound<br />

361 sydney rd brunswick<br />

clayworks<br />

610hnSIOn crt dandenong<br />

craft victoria<br />

31 fllnderslane melbourne<br />

macedon ranges potters<br />

33 yellow gum blvd sunbury<br />

national gallery <strong>of</strong> victoria<br />

180 sl kllda rd melbourne<br />

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cnr anslow and collier SIS wood end<br />

northcote pottery supplies<br />

142-144 weston <strong>51</strong> brunswick east<br />

potier<br />

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potters equipment<br />

13/42 new sl ringwood<br />

readings books<br />

309 Iygon st carlton<br />

readings books<br />

112 acland sl st kilda<br />

red hill south newsagency<br />

shoreham rd red hili south<br />

rmit bookshop<br />

330 swanston st melbourne<br />

shepparton art gallery<br />

70 welsford Sl shepparton<br />

the brunswick street bookstore<br />

305 brunswICk st fitzroy<br />

~A<br />

fremantle arts centre<br />

1 frnnerty <strong>51</strong> fremantle<br />

geraldton regional art gallery<br />

24 chapman rd geraldton<br />

graham hay<br />

robertson park arllSts studiO<br />

northbridge<br />

jacksons ceramics<br />

shop 4,30 erindale rd balcatta<br />

perth institute <strong>of</strong> contemporary<br />

art<br />

perth cultural centre lames st<br />

northbridge<br />

potters market<br />

56 stockdale rd o'connor<br />

lopdell house gallery<br />

41811tirangrrd waitakere city<br />

Please contaCT the <strong>of</strong>fice if you<br />

have a suggestion for a new<br />

stockist; T: 1300 720 124<br />

E: mail@australianceramics.com<br />


---r<br />

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Published 3 times a year by <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association. Please note: All prices include GST where applicable<br />

Fax or mail to <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association, PO Box 274 Waverley NSW 2024 Australia<br />

T: 1300 720 124 F: +61 (2) 9369 3742 E: mail@australianceramics.com www.australianceramics.com<br />


Become a member<br />

<strong>The</strong><br />



Association<br />


• 1 year (3 issues) subscription to<br />

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

• 12 months Product, Public and Tenants<br />

Group Liability Insurance (optional)<br />

• 6 issues <strong>of</strong> TACA's bi-monthly enews,<br />

<strong>Australian</strong> <strong>Ceramics</strong> - inTOUCH<br />

• Free artist listing on the online <strong>Australian</strong><br />

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

• Discounts on TACA workshops<br />

• Opportunities to exhibit in TACA's national exhibitions<br />

• Opportunities to meet other ceramic artists and<br />

collectors<br />

• Tax-deductible Membership Fee<br />

Join now and be part <strong>of</strong> the peak organisation<br />

representing <strong>Australian</strong> <strong>Ceramics</strong>.<br />

Annual Fee (Membership is anniversary-based so the date you join becomes your annual renewal date)<br />

D<br />

D<br />

Membership Fee $188/ with insurance (incl. $17.10 6ST) -<br />

Membership Fee $88/ without insurance (incl. sa.oo 6ST) -<br />

individuals<br />

available only to individuals*<br />

available to groups and<br />

* A Certificate <strong>of</strong> Currency will be issued to those who take the 'with insurance' option.<br />

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Signature / Date<br />

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T: 13007<strong>2012</strong>4 F: +61 (2) 9369 3742 E: mail@australianceramics.com www.australianceramics.com<br />


Books & DVDs<br />

On the Shelf<br />

More books are available on www.australianceramics.com<br />

NEW<br />

_1IiII:~ DVD<br />

1. <strong>The</strong> Art <strong>of</strong> Wood!ire<br />

- A Contemporary<br />

<strong>Ceramics</strong> Practice<br />

by Owen Rye<br />

This book illustrates the<br />

work <strong>of</strong> more than 24<br />

<strong>Australian</strong> ceramic artists.<br />

Owen Rye discllsses his<br />

perspective on wood·<br />

firing, its technical<br />

aspects and the aesthetic<br />

possibilities.<br />

AU <strong>51</strong>10<br />

2. Dry Glazes by<br />

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All you need to understand,<br />

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contemporary artists and<br />

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AU 539.95<br />

3. Modelling Heads<br />

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A practical and in~de pth<br />

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clay and tools, drying work<br />

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AU 539.95<br />

4. Hodge Inkjet<br />

Print on Clay<br />

by Jenny Hodge<br />

A resource OVD for artists<br />

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clay.<br />

Duration: Method 48 mins<br />

Keraflex 22 mins<br />

AU 555<br />

Ekctric Kiln<br />

GLAZES<br />

CONE'<br />

'1W~f<br />

DVD<br />

DVD<br />

5. <strong>The</strong> Electric Kiln<br />

by Harry Fraser<br />

Written for the craft<br />

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pr<strong>of</strong>essional. this book is<br />

a comprehensive guide to<br />

the selection, installation,<br />

use and maintenance <strong>of</strong><br />

electric kilns in studios<br />

and schools<br />

AU $39.95<br />

6. Glazes Cone 6<br />

by Michael Bailey<br />

Th is illustrated book<br />

provides many base glaze<br />

recipes for the popular<br />

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formulation, special effects<br />

glazes, single firing and<br />

brush~on glazes.<br />

AU 540<br />

1. <strong>The</strong> leach Pottery<br />

1952<br />

OVO. 32 minutes.<br />

8&W with narration by<br />

American potter Warren<br />

Mackenzie; 17 minutes<br />

<strong>of</strong> bonus footage taken<br />

at the pottery in 1952;<br />

14 page booklet by Shoji<br />

Hamada.<br />

AU S40<br />

8. Ben Richardson •<br />

Fire Works OVD and<br />

booklet<br />

This OVO and 38 page<br />

booklet. published in<br />

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Ben Richardson'S<br />

dedication to making<br />

site-specific, wood~fired<br />

ceramics; 24.5 minutes.<br />

AU 545<br />


ITEM;<br />

Name ____________________________ __<br />

All prices include GST and postage<br />

w ithin Australia.<br />

Address ____ ____ _____ ____ _<br />

____ ____________ _____<br />

Postcede ____ _ Country _______ _<br />

Phone _ ____________ Email ____ ___ _____ ______ _ __<br />

Cheque (AUS only) 0 MaslerCard 0 Visa 0<br />

Card Number DODD DODD 0000 0000<br />

Expiry Date 0 0 0 0 Totat 1 _______ __ <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> ASSOCIation

Classifieds<br />



By using state <strong>of</strong> the art digital printing technology, Decal<br />

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Sydney inner city pottery supplies: Keane's Clay - discount<br />

on 5 bagS/l0+ bags; Southern Ice Porcelain; Museum Gel;<br />

Chinese Oecals; Wide range <strong>of</strong> tools. glazes, underglazes;<br />

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<strong>No</strong>rthcote Pottery Supplies sells a range <strong>of</strong> quality pottery<br />

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the student, hobbyist and pr<strong>of</strong>essionaL We run a range<br />

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service, studio access and residency program, as well as<br />

housing SMAllpieces, a space showcasing contemporary<br />

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Quality supplies and friendly service; A wide range <strong>of</strong> clays<br />

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One <strong>of</strong> Australia's most experienced kiln and furnace<br />

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All underglazes at one low price <strong>of</strong> $32 .45 per SOOml bollle,<br />

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Manufadurers and exporters <strong>of</strong> high quality pottery<br />

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T: +61 (0)8 93995265; f: +61 (O)B 94971335;<br />

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A full range <strong>of</strong> ceramic supplies - clays, glazes, colours, raw<br />

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Walker <strong>Ceramics</strong> and Feeneys Clay, m 1 Research Drive,<br />

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6344; Toll free: 1800 692 5291 18oo0ZCLAY; E: sales@<br />

walkerceramics.com.au, orders@Walkerceramics.com.au<br />

www.walkerceramiCS.com.au<br />


Offering a complete range <strong>of</strong> electric and gas kilns, all <strong>Australian</strong><br />

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GROUPS<br />


Come and join us at one <strong>of</strong> our monthly meetings where we<br />

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<strong>of</strong>fering up-to-date books, magazines and DVOs, plus our<br />

woodfired kiln at Oxford Falls. We publish a monthly newsletter<br />

and we are an ideal forum for experienced potters, as<br />

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network; E: csgsecretary@hotmail.com<br />

WoNIN.ceramicstudygroup.org.au<br />



ceramic mass production and artworks. Ceramic design<br />

service also available. Contad Somchai, T: 02 9703 2557<br />

M: 0401 359 126; E: eatandclay@gmail.com<br />



Banksias to Beach Arts festival, <strong>July</strong> <strong>2012</strong><br />

Our biennial Arts Festival is happening once again from<br />

14 -29 <strong>July</strong>. A list <strong>of</strong> tutors and timetables is available on our<br />

website. All who participated in our first festival in 2010 had<br />

nothing but praise for this exciting event. For more details,<br />

phone: 07 3408 9288, email: festival@bribieartcentre.com.<br />

au or www.bribieartcentre.com.au<br />


Classi fieds<br />

TOWNSVILLE CERAMIC AWARDS <strong>2012</strong><br />

Perc Tucker Regional Gallery, 9-2S <strong>No</strong>vember <strong>2012</strong><br />

A NEW major acquisitive award <strong>of</strong> S 1 0,000 is being <strong>of</strong>fered,<br />

bringing the total value <strong>of</strong> awards to $15,000. Entries in the<br />

<strong>2012</strong> Townsville Ceramic Awards will be judged by Janet<br />

Mansfield. Closing date for entries is 8 Odober <strong>2012</strong> . For an<br />

entry form please email: nqldpotters@yahoo.com.au or go<br />

to www.nqpotters.com<br />


Join a growing group <strong>of</strong> artisans and gain access to more<br />

customers online. <strong>The</strong> WHG website works like a digital colour<br />

magazine with your website, email, postal address and<br />

phone numbers so customers can contact you direct. Introductory<br />

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40 words; contact Phillip on 0417 580658; E: wildgrain@<br />

hotmail.com; www.wildgrainhandmadegallery.com.au<br />



Providing ceramic artists with digital and traditional<br />

photographic imagery, as well as graphic design to print or<br />

electronic media; an Associate AIPP (<strong>Australian</strong> Institute <strong>of</strong><br />

Pr<strong>of</strong>essional Photographers) with over 30 years experience<br />

in various advertising, corporate and government projects;<br />

previously (for eleven years) inaugural manager <strong>of</strong> the<br />

photographidmultimedia unit at the Powerhouse Museum in<br />

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M: 0411 107744; E: greg@gregpiper.com.au<br />

WoNW.gregpiper.com.au<br />


<strong>No</strong>rthern NSW and OLD<br />

Tony can provide a complete photo imaging service for<br />

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M: 0417 886 185; E: tony.webdale@gmail.com<br />

PLIN THS<br />


Affordable, designed for structural integrity, lightweight;<br />

also for hire. Roger Fenton, St Ives NSW<br />

T: 02 9488 8628; F: 02 94401212; M : 0417 443 414<br />



at Moonshill, Tarago, near Goulburn<br />

29 <strong>July</strong>. 5 & 12 August <strong>2012</strong> (Sunday mornings): Explorations<br />

in Glaze Formulation; $40 for one class, $70 for any 2;<br />

$95 for ali three. Sun 16 September <strong>2012</strong>: Introduction to<br />

Slip Casting: $95, all materials and lunch included; Tues 6 -<br />

Sun 11 <strong>No</strong>vember <strong>2012</strong>: Creativity is Play, 6-day work.shop<br />

with British potter Sandy Brown; Bookings are essential.<br />

Full details at WWIN.janecrick.netfirms.com or contad Jane,<br />

T: 02 6 161 0806 or E: janecrick@dodo.com.au<br />



Contemporary <strong>Australian</strong> ceramics and pottery supplies<br />

located in inner city Sydney. <strong>The</strong> gallery features functional<br />

ware, vessels, sculpture and jewellery by emerging and<br />

pr<strong>of</strong>essional ceramic artists; 49-<strong>51</strong> King St, Newtown NSW<br />

2042; E: lowekerrie@gmail.com, \I\IVJ\N.kerrielowe.com<br />


Shepparton Art Museum is the premier public museum<br />

servicing <strong>No</strong>rth Central Victoria and has recently reopened<br />

following a major redevelopment. It is renowned for its<br />

comprehensive collection <strong>of</strong> <strong>Australian</strong> ceramics, historical<br />

landscape paintings and works on paper, and its important<br />

collection <strong>of</strong> contemporary art in aU media; Free Entry; Open<br />

7 days, 10am-4pm; PH. 1-4prn; closed Good Friday and over<br />

Christmas; 70 Welsford St, Shepparton VIC 3630<br />

T: 03 5832 9861; E: art.museum@shepparton.vic.gov.au<br />

www.sheppartonartmuseum.com.au<br />



<strong>The</strong> Diploma <strong>of</strong> <strong>Ceramics</strong> is a skills-based course delivered<br />

by specialist staff in a well resourced studio. Studies in<br />

aU aspects <strong>of</strong> ceramic process and design, and first hand<br />

experience with firing a wide variety <strong>of</strong> kilns, as well as<br />

diverse arts business strategies, provides students with<br />

a solid foundation from which they can build careers as<br />

independent arts practitioners. Contact Judith Roberts,<br />

T: 03 92125398; E: judith.roberts@chisholm.edu.au<br />


Holmesglen Chadstone Campus: Diploma <strong>of</strong> <strong>Ceramics</strong><br />

<strong>The</strong> scope and vision <strong>of</strong> our Diploma <strong>of</strong> <strong>Ceramics</strong> Course at<br />

Holmesglen is to prepare students for a career in ceramic art.<br />

We provide a pr<strong>of</strong>essional. well equipped studio environment<br />

and the staff are recognized, practising artists. Our aim<br />

is to inspire individual development and encourage ongoing<br />

levels <strong>of</strong> inquiry.<br />

Kim Martin, Course Coordinator <strong>of</strong> <strong>Ceramics</strong> and Visual Arts<br />

T: 03 9564 1942; www.holmesglen.edu.au<br />


Newcastle Art School <strong>of</strong>fers a range <strong>of</strong> flexibly delivered<br />

ceramics programs. All aspects <strong>of</strong> ceramics are explored<br />

- technical, practical and theoretical. Individual learning<br />

programs, in an open studio environment. are developed for<br />

each student by dedicated staff. <strong>The</strong> <strong>Ceramics</strong> Department<br />

has well equipped studios, a gallery and specialist library<br />

on site. <strong>The</strong> campus is located in the cultural prednd and<br />

is within walking distance <strong>of</strong> seven galleries. Contact Sue<br />

Stewart. heather.f.stewart@tafe.nsw.edu.au; WWI/II.newcastleartschool<br />

.com.au<br />


Certificate, Diploma and Advanced Diploma Courses in<br />

<strong>Ceramics</strong>. Courses require application.<br />

Enquiries: John Stewart, T: 02 6623 0218<br />

E: john.stewart@tafensw.edu.au<br />


Hornsby and <strong>No</strong>rthern Beaches College <strong>of</strong>fer accredited<br />

qualifications from Certificate to Advanced Diploma levels as<br />

well as short specialist programs for both the beginner and<br />

advanced ceramicists. For more information,<br />

E: nsi.ceramics@tafensw.edu.au. For general course and<br />

program enquiries call 131 674 or go to<br />

VvV\IW.nsL tafensw.edu .au<br />


Certificate and Diploma courses in ceramics - full and<br />

part-time attendance; now <strong>of</strong>fering AdVanced Diploma<br />

online. Cor Kingsway and Hotham Road. Gymea NSW<br />

T: 02 9710 5001; f : 029710 5026<br />

WoNW.sit.nsw.edu.aulceramicsigymea<br />


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

AUod8IIOn<br />

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

In 1956. <strong>The</strong> Potters Society <strong>of</strong> Australia was formed to encourage and foster the dev,<br />

was the first ceramics organisation in Australia. In 2006, our name was changed to Th<br />

scope <strong>of</strong> practice <strong>of</strong> the members. We are a national. not-for-pr<strong>of</strong>it organisation repres<br />

students <strong>of</strong> ceramics and all those interested in <strong>Australian</strong> ceramics. We actively supp<br />

nationally.<br />

Association<br />



Shop<br />

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.......<br />

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ADDRESS:<br />

PO Box 274<br />

Directc<br />

NEWS<br />

Pfeslden<br />

~ ceramic<br />

NSW2024_<br />

-.<br />

E-mail:<br />

mailCaumalianceramics.com<br />

<strong>The</strong> Trod<br />

Scholars<br />

TeCepIlone:<br />

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Fax:<br />

+612 9J69 3142<br />

ld!!Jli!;I »

quality pottery supplies and services<br />

<strong>No</strong>rfhcote Pottery Supplies Pty Ltd<br />

142 - 144 Weston Street<br />

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(PH) 0393873911<br />


woodrow<br />

kilns<br />

Helping you produce Beautiful <strong>Ceramics</strong>, Pottery and Glass for over 40 years<br />

A Complete Range <strong>of</strong><br />

Electric and Gas Kilns:<br />

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• Failsafe Backup Circuit and Door Switch<br />

• All Kilns can Fire to 1280C<br />

• Failsafe Backup Circuit and Door Switch<br />

• Kanthal A 1 Elements and r28 Brick Floor<br />

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• Recommended Firing Schedule with Wall Chart<br />

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Under New Management<br />

We are pleased to announce that after working as Sales &<br />

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---------------------------<br />

Ceramic Design Studio<br />

www.sit.nsw.edu.au/ceramics/gymea<br />

Why not enquire about ournew Master Classes!<br />

Studio-based courses<br />

Full and part-time<br />

Wheelwork Tableware<br />

Handbuilding Sculpture<br />

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Raku & Woodfiring<br />


DESIGN<br />

UDIO<br />

Image: Nicky Parras<br />

Photography: Silversalt Photography<br />

Cnr<strong>The</strong> Kingsway & Hotham Road<br />

Gymea NSW 2227<br />

Tel: (02) 9710 5001 Fax: (02) 9710 5026<br />

Catherine.Fogarty@det.nsw.edu.au<br />


Ccr:le:bfotlno ~ yeor. <strong>of</strong> the: NO PoHcr:rs' Alsn Inc<br />


At Perc Tucker ReQlonol Callery, 9-25 <strong>No</strong>v 20 12<br />

$ \ 0,000<br />


WARD<br />

Entrie, ore Invited to the Townsville Open Award,<br />

Judged by Janet Mansfleld<br />

ClosinQ dote for entries, 8 October <strong>2012</strong><br />

Entry forms available from<br />

<strong>No</strong>rth Queensland Potten' Assn Inc<br />

PO Box 5033. Townsville. QId 4810<br />

e, nqldp0ttenfPY8hoo,com,au<br />

t , (07) 477 1 5044 (07) 4724 3827<br />

www.nqpoUers.com<br />

.. ~<br />


<strong>The</strong> Decal Award<br />

An acquisitive prize based on<br />

technical skill in both drawing and the<br />

manufacture <strong>of</strong> the ceramic form<br />

DECAL<br />



Mission Statement<br />

<strong>The</strong> Decal Specialists & <strong>Ceramics</strong> Victoria Inc. are delighted<br />

to launch thjs award that recognises the diversity and<br />

skill in the produdion <strong>of</strong> original studio ceramic work.<br />

<strong>The</strong> aim <strong>of</strong> this prize is to nurture, support & celebrate<br />

new ceramic design and production within the variety <strong>of</strong><br />

forming methods. <strong>The</strong> challenge <strong>of</strong> marrying drawn designs<br />

with ceramic form, either wheel produced or hand built<br />

addresses innovative creativity. Further tbe conversion <strong>of</strong><br />

original drawing to decals expands the concept <strong>of</strong> purposeful<br />

aesthetic deSign.<br />

Exhibition Date<br />

October <strong>2012</strong><br />

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a.'P Glaz., Cotows<br />

Cesco _.-...<br />


Entries Close<br />

September 14th at 5:00 p.m .<br />

Enquiries: Office Co-Ordinator<br />

Phone: 03 9899 2777<br />

Email ceramicsvic@optusnet.com.au<br />

Categories<br />

Decal Award:<br />

Acquisitive Prize for CV Inc. Permanent Collection $2.000<br />

Manufaduren Awards:<br />

Clayworks Award $300 Clay voucher<br />

Walkers Award $300 Clay voucher.<br />

<strong>No</strong>rthcole Pottery $300 Clay Voucher<br />

Regional Award: Potters Equipment $300 cheque<br />

Judges<br />

A panel <strong>of</strong> 3 judges with experience and expertise in drawing<br />

and clay methodology will be announced in the near future.<br />

Preselection will only take place if numbers <strong>of</strong> applications is<br />

excessive.<br />

Entry Forms & Conditions <strong>of</strong> Entry available to download<br />

from the <strong>Ceramics</strong> Victoria website<br />


Specialist ceramics<br />

training facilities<br />

TAFE NSW - <strong>No</strong>rthern Sydney Institute<br />

Beginners and<br />

pr<strong>of</strong>essional<br />

ceramicists<br />

are welcome<br />

Come and train in some <strong>of</strong><br />

Australia's most outstanding<br />

ceramics training facilities<br />

featuring the latest<br />

pr<strong>of</strong>essional equipment and<br />

spacious, natural light-filled<br />

design studios.<br />

Both colleges <strong>of</strong>fer fast-track<br />

specialist programs and a full<br />

range <strong>of</strong> nationally accredited<br />

qualifications which are<br />

available part-time, full-time,<br />

day or evening.<br />

<strong>The</strong> f acilities include:<br />

> Raku kilns<br />

> natural gas and LPG kilns<br />

> electric kilns<br />

> wood fired kilns<br />

> an extra large trolley kiln for sculptural work<br />

Courses include:<br />

> Nationally accredited qualifications<br />

Certificate level III, IV, Diploma and Advanced Diploma<br />

> NSf's open studio practice provides access to the NSf studios<br />

and facilities so you can improve your skills by developing<br />

your own work.<br />

Hornsby College<br />

205 Pacific Highway, Hornsby NSW 2077<br />

<strong>No</strong>rthern Beaches College<br />

154 Old Pittwater Road, Brookvale NSW 2100<br />

For more information about the ceramics training facilities<br />

and services available, email: nsi.ceramics@tafensw.edu.au<br />

For general course and program enquiries:<br />

Call 131 674 or go to www.nsi.taf ensw.edu.au<br />


Holmesglen<br />

[ERAMI[S<br />

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IN <strong>2012</strong><br />

!.lEAl IllPlIllUHflY1U USE fMAl flOlll1ES<br />

Willi _AllV£ STAff<br />

F« men infoo'nalion contact<br />

JohnS_rt<br />

Head T_ Creative Industries Faculty<br />

0266230218<br />

jOhn.stewart@tafensw.edu.au<br />

THE IOUR NAl OF AUSTRALIAN CERAMICS IUlY <strong>2012</strong> 119

--<br />



An exhibition presenting new watercolours<br />

and a collection <strong>of</strong> retrospective ceramics<br />

8TH - 18TH NOVEMBER <strong>2012</strong><br />


Salamanca Arts Centre<br />

Level 1f77 Salamanca Place. Hobart. Tasmania<br />

OPEN DAILY: 10.30AM - 4.30PM<br />

Contact: 0409 449 238<br />

Ceramic vesset hand coiled<br />

and sculpted form, stoneware<br />

z"o<br />

Z-CARD<br />

ECHO: 25 JULY - 18 AUGUST <strong>2012</strong><br />


sab b<br />

a gallery<br />

wwwsabblagalterycom 120 Glenmorc Road Padcllngton Sydney NSW 2021 AUSTRALIA<br />

Ph *61 '29361 6448 ema)1 gallmy@sabblagallery com Tue~ Fn 11am to 6prn Sat 11

Potters Cottage:<br />

A Tribute<br />

Launching the new<br />

Manningham Art Gallery<br />

September - October <strong>2012</strong><br />

A collection <strong>of</strong> exemplary and rarely seen ceramic<br />

works by the founders <strong>of</strong> the Potters Cottage in<br />

Warrandyte and those who carried its legacy into<br />

the 21 st Century.<br />

CurfJ-ted by Grace Cochrane.<br />

.<br />

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Imoye SyNia Halpem, BIrd with ¥et>nd !calho' In Iilli. c, 1995 .<br />

3Ih31l!25cm<br />

M3MnghBm PublIc M Coi8:IIOn<br />

Manmngham Art GaUer\} GaUer\) Hours Contact Us<br />

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Mea<br />

Manningham<br />

wwwmanntngham.vlc gOY au gallery<br />

Art Gallery<br />

Kiln repairs. maintenance and<br />

restoration by Ian <strong>The</strong>yers.<br />

a licensed industrial electrician<br />

Sound technica l advice<br />

Friendly personal service<br />

Wonderful range <strong>of</strong> days­<br />

Clayworks. Walkers and Keanes<br />

Pottery equipment and tools<br />

Short pottery courses<br />

Regular specialist workshops<br />

New exh ibition space-<br />

Potters Needs Gallery<br />

Delivery to your door<br />

Potters Needs is operated by<br />

Victoria and Ian <strong>The</strong>yers<br />

Potters<br />

Needs<br />

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A Division <strong>of</strong> Cronulla School <strong>of</strong> Arts Inc.<br />

50th Anniversary <strong>of</strong> the<br />

Port Hacking Potters Group<br />

Tim Mantzouridis<br />

presents the<br />

Inga Svendsen<br />

47th National Pottery Competition and Exhibition<br />

at the Hazelhurst Regional Gallery and Arts Centre<br />

Gymea NSW<br />

22 September - 3 October <strong>2012</strong><br />

To be judged by Greg Daly<br />

For entry forms and information:<br />

PO Box 71 Miranda 1490 T: 0407 229 1<strong>51</strong><br />

Email: pottersgroup@hotmail.com<br />

ENTRY FORMS DUE BY 14 SEPTEMBER <strong>2012</strong>


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ABN 17 006 (ITT 454<br />

6 _ Court 1Jondcnon, VIC 317S A-.Jia<br />

T: 03 9791 6749 P: 03 9792 4476<br />

E: .laywwb@dayw.......-....<br />

www.cla,..............<br />

Join <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association<br />

Facebook page here:<br />

http://tinyurl.com/tacafacebook<br />

CJ Like<br />

COLOURS Rockwood Pigments, Cesco,<br />

Walker <strong>Ceramics</strong>, Clayworks, Deco,<br />

Chrysanthos CLAYS Bendigo, Bennetts,<br />

Blackwattle, Clayworks, Feeneys, Keanes,<br />

<strong>No</strong>rthcote, Walkers EQUIPMENT<br />

wheels, slab rollers,<br />

ACCESSORIES Brushes, corks,<br />

kiln shelves, etc MATERIALS<br />

and more GLAZES Powder and liq<br />

Clay tools, Kemper, Giffin Grip and<br />

NEW - Limited supply <strong>of</strong> Duncan UfU'UUI" L<br />


NEW <strong>No</strong>.3<br />

full-sized er2onomic action pedal<br />

1/2hp motor. 13" wheelhead<br />

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.,<br />

venco<br />

\NVVVV v(~r'cu cnr-rl ; tU<br />

NEW <strong>No</strong>.3<br />

stainless steel body option<br />

clip-on work tables and seat also available<br />

----- - - -- - - -<br />


I C<br />

Pump up the volume on colour! 18 sumptuous colour options to choose from. Add them to<br />

slip, glaze and clay. Below images are a mix <strong>of</strong> 6gms <strong>of</strong> stain to 1 DDml <strong>of</strong> slip.<br />

New and exciting Mudtools in stock now ... More on the way so be sure to keep your eye on<br />

our website or Facebook page. New Mudtools info being posted soon!<br />


$25.15<br />

Designed to flute leather hard clay.<br />

Its tapered design and bevelled<br />

"scoops" easily whisk away fluted scrap.<br />


$20.25 SP. $23.15 LP<br />

Long resin ribs with a gradual curve,<br />

perfect for plates and platters.<br />

Available in firm (army green).<br />

Size SP: 190mm

'.'<br />

."<br />

'.<br />

'.<br />

Learning About Oneself by<br />

Doodling in Clay<br />

A two-day workshop with<br />

Sandy Brown, UK ceramic artist<br />

Sat 27 + Sun 28 October <strong>2012</strong><br />

Workshop Arts Centre, 33 Laurel Street<br />

Willoughby NSW 2068<br />

$340 per person + materials<br />

($320 members <strong>of</strong> TACA + materials)<br />

www,shannongatson.c.om<br />

Under the Surface:<br />

creativity and mark making<br />

A two-day workshop with<br />

Shannon Garson, QLD ceramic artist<br />

Sat 4 + Sun 5 August <strong>2012</strong><br />

Maleny Arts & Crafts Group<br />

38 Maple St, Maleny QLD<br />

$290 per person ($270 members <strong>of</strong> TACA)<br />

For further information and bookings: <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association<br />

T: 1300 720 124 F: 02 9369 3742 E: mail@australianceramics.com www.australianceramics.com<br />

<strong>The</strong> <strong>Australian</strong> Ceramic<br />

Association<br />

announces its <strong>2012</strong><br />

members' exhibition<br />

Members are invited to make<br />

a vase to celebrate the 50th anniversary <strong>of</strong><br />

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

28 September - 1 October <strong>2012</strong><br />

<strong>Australian</strong> <strong>Ceramics</strong> Triennale<br />

Adelaide. South Australia<br />

Members must complete an Expression <strong>of</strong> Interest<br />

Form (available on www.australianceramics.com)<br />

and submit it to <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong><br />

Association by 31 <strong>July</strong> <strong>2012</strong>.<br />

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

PO Box 274 Waverley NSW 2024<br />

T: 1300 120 124; F: 02 9369 3742<br />

E: maiiOaustralianceramics.com<br />

www.australianceramics.com<br />


Trudie Alfred

Feeneys<br />

Clays<br />

WALKER<br />

~<br />

Clays Glazes Colours<br />

Cesca<br />

Glazes & Colours<br />

Greg Daly, First Light, 201" lustre·glazed earthenware<br />

dram ncm, d 7cm: photo Stua,t Hay<br />

Service and Supplies<br />

03 8761 6322 1800 692 529<br />

sales@walkerceramics.com.au<br />


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