The Journal of Australian Ceramics Vol 51 No 2 July 2012

512July 201

Clean Efficient
Electric & Gas Kilns
and Furnaces
+ Environmentally friendly
+ Low density hot face
insulating brick (fibre free)
+ Economical to operate
+ Made in Australia
exported worldwide
+ One of Australia's most
experienced kiln and furnace
manufacturers
+ Australia's largest range
with 40 standard sizes
custom sizes on request
+ Over 40 years experience
established 1963
+ Over 20,000 kilns and
furnaces now in use
+ Fast firing to 1300°C
Your choice - manual or

- --------------------------------------------------------------------------,
Co ntents
Volume 512
July 2012
$16
Cover
Deanne Gilson
Bunjil Creation Story (detail)
201 1, earthenware, paperclay
011 paInt, varIOUS dimensions
Photo: Matthew" Stanton
Shepparton Art Museum, purchased
with funds provided by the
Margaret Lawrence Bequest, 2012
The Journal of Australian Ceramics
Dates of Publication
1 April. t7 July. 20 November
Publisher
The Australian CeramICS Association
PO Box 274 Waverley NSW 2024
T: 1300 720 124
F: 02 9369 3742
mail@auslralianceramics.(om
WWN.australianceramics.com
ABN 14001 S3S S02
ISSN 1449-275X
Editor
Vicki Grima
Marketing and Promotions
Carol Fraczek
Design
Astrid Wehling
wvvw.astrimvehling.com.au
Subscriptions Manager
Ashley McHutchison
Editorial Assistant
Elisa Bartels
Proofreader. (ontent
Suzanne Dean
Austra lia Wide Reports
Please see reports
for contact details
ACT: Jane Crick.
NSW: Sue Stewart
QLD South East: lyn Rogers
SA: Sophia Phillips
l AS: john Watson
VIC: Glenn England
WA:. Elaine Bradley
Printed by
Ne\oVStyle Printing Co Ply ltd
41 Manchestef St. Mile End SA
5031 certified to ASlNZS ISO
14001:2004 Environmental
Management Systems. Printed on
Impress Satin (FSC) stock using
100% vegetable-based
process inks.
2 EDITORIAL
3 CONTRIBUTORS
4 NOW + THEN
5 ALL THINGS DIGITAL
6 AWARDS + GALLERY
10 SUBVERSIVE CLAY - 2012 Australian Ceramics Triennale
PROFILE
14 Janet DeBoos: The Space Between by Jan Howlin
FOCUS: INDIGENOUS CERAMICS
21 The 1989 Lajamanu Ceramics Project by Christine Nicholls
28 Mosaicing a Memorial by Leanne Anderson
30 Mapping it Out: Hamish Swain documents a collaboration between
Stephanie Outridge Field and Megan Cope
36 The Hermannsburg Potters by John Rigby
40 Ricardo Idagi - The Coconut
41 8atchelor Institute gets a new home: Jacki Fleet reports
42 2011 Indigenous Ceramic Art Award: A brief extract from the
catalogue essay by Julie Gough
FOCUS: EDUCATION
46 Highly VISIBLE - winning strategies for ceramics departments
by Karen Weiss
PROMOTION
52 RMIT: Hybrid Practice: A (brave?) and exciting new craft world
by Sally Cleary, Object Based Practice, RMIT University
56 National Education Pictorial Survey 2012
REGULARS
70 VIEW: Head Land
Rowley Drysdale discusses Stephen Roberts' latest work
74 CERAMICS+: Harmonies and Dissonances
Roy Ananda examines recent work by Wendy Fairclough and
Honor Freeman
78 UP THE YOGA PATH: Yoga in the Pottery Studio
by Kari with Linley Boyle
82 CERAMIC SHOTS: sub-VASE-ive Photographic Competition
83 STUDIO: Impulse and Intuition Helen Fuller on her studio practice along
with an opening speech by Prue Venables
88 WEDGE: Gerry Wedd
89 PROJECT: Crumbling Ecologies
Jasmine Target! ponders on whether we can grow something
new in the crafts
92 JOIN THE POTS: from the JAC Archives, Janet DeBoos
94 TRADE: Artist Run Initiatives around Australia compiled by Elisa Bartels
96 ARTIST IN RESIDENCE: Expectation and Experience
Christopher Headley reports on the AIR Program at the Yingge Ceramics
Museum in Taiwan
100 POTTERS MARKS
101 VIEWED + READ: DVD review by Petra Svoboda
102 AUSTRALIA WIDE
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 1

Editorial
------- -----
If flexibility drives your decision-making when
seeking to broaden your ceramics skills, there are
many possibilities to consider away from formal
educational institutions, I recently attended a
woodfiring workshop with Barbara Campbell-Allen
at Gaya Ceramic Art Centre in Bali. Here we are at
the end of the firing in May 2012 _
Although we know that change is inevitable, most of us remain challenged by the fact that almost
every aspect of current ceramic practice is different to that of a decade or two ago_ Despite stand-alone
ceramics courses being absorbed into visual arts curriculum in TAFEs around the country, and other
ceramic facilities closing down, there are also new opportunities opening up for those with creative
and proactive approaches_ The new Art and Craft Department of Batchelor Institute of Indigenous
Tertiary Education (BIITE) is one such example and we wish them every success! Karen Weiss' article
on several innovative and resourceful ceramics departments may get you thinking; as well as working
energetically within their institutions, they are also interacting more broadly in their local communities_
Creative problem solving and a positive, flexible attitude are pushing people into areas which they may
have previously rejected_ RMIT University and their bold new hybrid object-based courses are one such
example. In our annual survey of graduate ceramic work, it's also stimulating to see such variety in
the work being made. I think we underestimate the achievements made as we adapt to the changes
happening in the education sector.
And, despite ceramics not being part of traditional Indigenous craft practice, the diversity of ceramic
forms and surfaces shown in this issue illustrate that Indigenous artists are finding the ceramic medium
well suited to the translation of their stories_ Our coverage of the biennial Indigenous Ceramic Art
Award (offered by Shepparton Art Museum) illustrates the benefits of such encouragement and
acknowledgement in this growing sector of ceramic art practice.
And talking of change _.. we will soon be introducing a digital version of The Journal of Australian
Ceramics (JAC). Digital JAC will soon be available wherever you are in the world, together with a few
added interactive features_ Look out for its release on our website, wwwaustralianceramics.com, and via
our networks.
I hope to see you in Adelaide for Subversive Clay, the 2012 Australian Ceramics Triennale _
The gang down south have been working really hard to make Adelaide the city of ceramics during 4
action-packed days in late September. There'll be a plethora of opportunities for everyone to overdose
on ceramics, so come along and enjoy!
PS A meeting will be chaired by The Australian Ceramics
Association in Adelaide at ACT 2012 to discuss future
Australian Ceramics Triennales.
~.
2 THE JOURNAL Of AUSTRALIAN CERAMICS JULV 2012

Contributors
Roy Ananda is a South Australian artist and
writer. Since 2001 he has exhibited widely,
holding solo exhibitions in Adelaide, Sydney,
Melbourne and regional Victoria as well as
participating in dozens of group exhibitions
around Australia. He is currently Head of
Sculpture at Adelaide Central School of Art. Roy
Ananda is represented by Dianne Tanzer Gallery
+ Projects, Melbourne, and can be contacted
through the gallery.
http://diannetanzergallery.net,au
Elisa Bartels
I am a maker, writer and dreamer (not always
in that order), so it is a pleasure when I get a
chance to do any of these activities. Still early in
my career, the prospect of exhibiting and selling
looms, so it's heartening to see so many artistrun
initiatives operating in this wide brown land.
www.elisabartels.com
Kari
After making stuff since she was a kid, Kari
now holds an Advanced Diploma of Ceramics.
Her artwork has won awards and been exhibited
in Victoria, Queensland and Japan. Kari's ceramic
installations have appeared in dance concerts,
environmental festivals and galleries. She shares
a leafy green art studio with potter husband
Stephen Roberts.
www.karicelebrations.com
www.stephenrobertsceramics.com.au
Sophia Phillips is a practising artist and writer
who lives in Adelaide. After a long fascination
with intentionally flopping pots on the wheel,
dropping, squeezing and prodding them, and
generally just torturing the poor things, she has
moved onto handbuilding sculptures in porcelain
that are a little bit dangerous themselves. Sophia
enjoys critical as well as descriptive writing, and
has a penchant for the weird and wonderful
things you can do with clay.
www.sophiaphillips.net
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 3

Now + Then
_ StephmBlrd
--- -- ._.- ._- ._- ._ --
__ .. 0
- . w __ _..... .
.-.
At Blurb (www.blurb.com) you'll find all the
tools you need to make your own photo book.
With quality printing and binding and a range
of choices - hardcover and softcover in an array
of trim sizes - you can use their free online
bookmaking tools to create your own book.
Learn how to publish a book and much more
with their how-to tips and tutorials. You can even
turn a Blurb book into an ebook for the iPad.
Check out Stephen Bird 's, Where the Wild
Roses Grow, published early 2012 for his
exhibition at Rex Irwin Art Dealer
Go to www.blurb.com. search 'ceramics' and
see what's possible.
In celebration of North Queensland Potters'
Association 40th anniversary, a new major
acquisitive award of 510,000 has just been
finalised, with the winning work going into the
collection of the Perc Tucker Regional Gallery,
Townsville. With awards totaling $15.000 this
competition is not to be missed. Awards will be
judged by Janet Mansfield. The exhibition will be
held at Perc Tucker Regional Gallery, Townsville,
from 9 to 25 November 2012. Entries close on
8 October 2012. For more information please
email: nqldpotters@yahoo.com.au. or go to
www.nqpotters.com.
The Cicely & Colin Rigg Contemporary
Design Award is arguably the richest and
most prestigious prize offered for contemporary
design in Australia. Held every three years,
this year's award will focus on vessels and the
notion of containment. Artists have been asked
to think more laterally and abstractly about the
notion of a vessel as an object that physically
and metaphorically contains something. The
award will include artists working across many
mediums. The exhibition will be held at The
Ian Potter Centre: NGV Australia at Federation
Square, from 23 November 2012 to 25 May
2013.
We hear ceramics will be well represented, so
it's sure to be worth a visit.
www.ngv.vic.gov.au
Cover artist Deanne Gilson lives and works in Ballarat, Victoria, and is from the Communityl
Language group Wathaurung. This excerpt is from the 2011 Indigenous Ceramic Art Award
catalogue:
The subject matter for my installation visually documents the
dreamtime myth of 'Bunjil' the wedge-tailed eagle, creator of
Aboriginal man and woman. Bunjil was said to be a great spirit
that created man out of clay. On finishing the perfect human from
the earth, along came a crow named 'Waa', who blew on the man
and woman, thus carrying them all over the landscape. This is how
different clans formed over the Australian continent.
I have chosen to portray this story in a contemporary way by
using the egg as a symbol of the birth process. In all there are ten eggs, one being white and the purest
form, representing Bunjil. Eagles generally only lay two eggs. one white and one black and white. The
almost black egg next to Bunjil signifies the other eagle egg. This egg also represents my black and
white culture. The other eggs are crow's eggs that make up my aboriginal family. I have chosen to leave
the eggs looking quite abstract and slightly more exaggerated in their forms as this is a dreamtime myth
and my interpretation of it. The scatter of leaves connects the piece together as 'one'.
4 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

All things digital
DIGITAL JAC
We have been talking for sometime about
bringing the Journal into the digital age. In this,
JAC's 50th anniversary year, the time has come!
We are planning to launch a digital version
starting with Issue 5111, April 2012. The digital
version will feature interactive links such as video
interviews and slideshows. Although the paper
publication will continue, the digital version will
enable greater immediate access worldwide,
whilst also encouraging readership (nationally
and internationally) across a variety of digital
platforms such as iPad, tablets and computers.
Are you entering a vase into
The 50th Anniversary Vase Show?
TACA members are invited to exhibit a vase in
Adelaide at Subversive Clay, Australian Ceramics
Triennale 2012, in late September. Vases must
have been made in the last 12 months, measure
less than 15 x 15 x 15cm and be available for
sale. The Expression of Interest (EOI) deadline is
31 July 2012.
Use the QR code below to access the EOI form
on our website.
Look out on www.australianceramics.com.
for the DIGITAL JAC announcement. What a
great gift for a fellow maker!
Have you found us on Facebook, Flickr and
Wordpress?
The Aust ralian Ceramics Association is now active
on these networks:
Facebook: search' Australian Ceramics' and 'like'
our page.
Flickr: www.flickr.comlphotoslaustralianceramics
Word press:
http://australianceramics.wordpress.com
Alternatively, go to www.australianceramics.com.
click on 'Association', then 'Member Exhibitions',
and dowload the form via the link, or call 1300
720 124 and we will mail an EOI form to you.
Be sure to enjoy our extra web features
at www.austraUanceramics.com
Go online to hear . . • •• talk about her experiences in China. Jan Howlin visited Janet at her
home and pottery in the Brindabella Ranges west of Canberra and in this interview excerpt, accompanied
by a slideshow, Janet describes how she became the designer of factory· produced ceramics, and how this
involvement has radically changed the work she makes.
TlNo web-only artldes:
Understory:
review of The Narrative Knot: Stories in Ceramics
reviews Then and Now, an exhibition held at Whitehorse Art Space earlier this year. Guest
curator Sue McFarland delved into the joint collections to assemble a diverse range of ceramics mainly from the
70s, '80s and '90s. She then invited the artists selected to exhibit a contemporary work representative of their
current art practice.
THE JOURNAl Of AUSTRALIAN CERAMICS IULY 2012 5

Akio Takamori
Masamichi Yoshikawa
2012 Australian Ceramics Triennale
28 September - 1 October Adelaide
To view conference themes, registration details, fees and early bird rates , venues
and conference information please visit the website: www.australianceramicstriennale.com
International presenters
Anton Reijnders - Netherlands
Akio Takamori - USA
Clare Twomey - UK
Masamichi Yosh ikawa - Japan
Pre Conference Master Classes
Akio Takamori
Masamichi Yoshikawa
24, 25, 26 September 2012
E: subversiveclay@craftsouth.org .au T: (08) 8410 1822
Craftsouth major ceramics co nference partner
~ Government of South Australia
~ ArtsSA
~
UniSA
Jam
Factory

Event
Damon Moon on the Triennale
September is approaching and Adelaide is gearing up to host Subversive Clay, the 2012
Australian Ceramics Triennale, so it's time to take a final look at an event that no one with
a passion for ceramics will want to miss.
With the focus on clay as a subversive medium, a multiplicity of exhibitions, masterclasses,
demonstrators, keynote addresses and panel discussions will explore this theme, in a city
that seems purpose built to hold such an event.
The West End precinct is the conference hub, where many of the venues are literally
adjacent to each other, and major institutions like the Art Gallery of South Australia, the
Flinders University City Art Gallery and the South Australian Museum only a ten minute
walk away. For those who want to venture farther afield, there are several tours on offer
which, while placing due emphasis on matters ceramic, will also explore the viticultural and
gastronomic delights of the beautiful Adelaide Hills and Southern Vales.
Program and Registrations are available on the website
www.australianceramicstriennale.com
Masterclasses and Demonstrations
Although officially beginning on Friday 28 October, some
conference-related activities commence the week preceding, with
masterciasses by the internat ionally renowned artists Akio Takamori
and Masamichi Yoshikawa in the studios of the JamFactory
Contemporary Craft and Design Centre and the Adelaide College
of the Arts. Another event is the Hyperclay workshop for teachers
and other interested people, on Thursday 27 September, held in
conjunction with the Hyperclay touring exhibition, which will also
be at the JamFactory - (locals just call it 'the Jam').
Of the many demonstrations on offer during the conference,
the ceramicist Gerry Wedd best sums it up when he says that "the
real value of these events is being able to observe idiosyncratic
approaches to making". As well as Gerry, ceramicists inciuding Prue
Venables, Philip Hart, Stephen Bowers and many others will be
plying their trade in the studios and workshops of the JamFactory,
UniSA and the Adelaide College of the Arts.
Work by Masamichi Yoshikawa
Below: Mark Heidenreich
28 Sep -1 Oct 2012
ADELAIDE

Event
Keynotes and Panels
The conference begins on Friday
with noted Australian ceramicist and
publisher Janet Mansfield introducing
the first of the keynote speakers, Anton
Reijnders (the Netherlands), who will
deliver a paper addressing 'Recent
Developments: Directions and the
Future'. The four keynote speakers,
Anton Reijnders, Clare Twomey (UK),
Akio Takamori (Us/Japan) and Penny
Byrne (Australia), will then be in
conversation about the conference
theme.
Each morning over the following
days, a keynote address will be
followed by panel discussions on a
wide range of topics. The MC for
Saturday is Dr Robert Bell, Senior
Curator of Decorative Arts at the
National Gallery of Australia, when he
will introduce Clare Twomey and her
paper on 'Philosophical and Eth ical
Directions in Contemporary Ceramics'.
Sunday morning sees Akio Takamori
discussing his work in the context
of 'History, Tradition, Culture and
Identity', after which a panel, chaired
by renowned Australian ceramicist Jeff
Mincham, will elaborate on this theme.
Above: Penny Byrne
Below: Anton Reijnders
Monday is the final day of the
conference when Paul Scott (UK) will
take to the stage with keynote speaker
Penny Byrne to explore the topic
'Diverging Practice, Shifting Ground
and Cross Disciplines'.
28 Sep -1 Oct 2012
ADELAIDE

Exhibitions
In addi tion to the Hyperc/ay touring exhibition,
JamFactory will be showing ceramics from the Tiwi Islands
and work by the four finalists in the Alcorso Ceramics
Competition, Vitrify 2012.
Two challenging exhibitions examine the history and
legacy of a very South Australian style of Funk ceramics,
with Skangaroovia Revisited at the Art Gallery of South
Australia offering a rare opportunity to see key works
from the collection that are still as subversive as the day
they were made, while Post Skangaroovian at the SASA
Gallery will examine how this work resonates within
contemporary practice.
Above: Klaus Gutowski
Selow: Stephen Bird
Following on from the conference theme, Subvert
at Light Square Gallery will present work from keynote
speakers and presenters, and in Irrational and
Idiosyncratic, the renowned Australian designer Khai
Liew will team up with South Australian ceramicist and
educator Bruce Nuske at the Anne and Gordon Samstag
Museum of Art to present an exhibition inspired by the
19th century fashion of Orientalism. And, for something
completely different, Clay Lineage at the Kerry Packer
Civic Gallery will showcase early South Australian
commercial potteries.
For a full list of exhibitions, go to www.australianceramicstriennale.com
Events
Several special events promise to round off the proceedings in spectacular fashion.
On Friday evening a reception will be held at the JamFactory to announce the winner of the
prestigious Vitrify 2012 Alcorso Ceramic Award. A special celebration will be held on Saturday evening
to mark the 50th anniversary of The Journal of Australian Ceramics, and on Sunday night Subversive
Clay's conference party Rock the Frock will celebrate ... well, it'll just be a celebration. Just keep in
mind that there is still a full day to go (plenty of strong coffees on Monday morning) before the official
conference close on Monday afternoon.
Registrations and the program outline are available on www australianceramicstriennale.com
THE 10URNAL OF AUSTRALIAN CERAMICS IULY 2012 13

Profile
Janet DeBoos
The Space Between
by Jan Howlin
Long-time teacher, glaze specialist and author, one-time production potter, sinophile and collaborator
with the ceramic industry in China, speaker, writer, project facilitator and respected ceramic artist,
Janet DeBoos has been a prominent. active and productive participant in the development of ceramics
in Australia over the last four decades. Since the early eighties she has had eight solo exhibitions,
contributed to more than a hundred group shows, and her work is held in museums and galleries in
Australia, Taiwan, Greece and China. She has taught for many years, most recently as Head of the
Ceramics Workshop at the School of Art, Australian National University (ANU), in Canberra. She has
given numerous lectures and workshops in all states of Australia as well as in Canada, the USA, UK,
China and Korea, has often been published in ceramics magazines and acted on various boards and
committees. For DeBoos, these many achievements are simply facets of a whole, rich and integrated life
- and a most privileged life at that, she says, in that, largely, she does what she wants to do.
Born in Melbourne in 1948, DeBoos grew up for the most part in the southern Sydney suburb of
Blakehurst. She attended opportunity classes in primary school, repeated fifth year at Blakehurst High,
and, after taking up a Commonwealth Teacher'S College Scholarship, completed a science degree,
majoring in Zoology and Botany, at Sydney University in 1969. Despite her obvious mathematics/science
bent, she was always attracted to "doing something with [her] hands". She took pottery classes at St
George Technical College with her mother, who was a keen hobby potter with a small studio at home.
"Everyone was doing it in the sixties, and I just thought I'd do it too," says DeBoos. In her final year at
university, she attended a class at East Sydney Technical College (ESTC) run by Peter Rushforth, and at his
suggestion she joined the Certificate Course there the following year, which she completed in 1971 .
Through the seventies, married and living in inner-Sydney Glebe with a woodfired kiln, a sheep, ducks
and a vegetable garden in the backyard, she fully embraced not only the craft movement, which was
in full swing, but the alternative spirit of the time. Together with her first husband she bought land in
Mudgee, and from 1973 to 1975 hosted woodfired pottery summer schools there. She taught pottery
and glazing for most of the decade in various NSW technical colleges, either part-time or full-time,
including stints in Canberra Technical College and as Head of School briefly at ESTC from 1979 to 1980.
When she heard by chance that Macmillan Publishers wanted a book written on glazes, she volunteered.
"And I still think the results are very clearly written," she says. Although she also made pots, she says
Glazes for Australian Potters (1978) meant she was known much more as "the glaze lady", and as
such she went on to co-author Handbook for Australian Potters (1984) and write More Glazes for
Australian Potters (1989).
The 1980s brought major change. De800s and her second husband Michael Wignall spent a couple
of years sailing in the Mediterranean, she gave birth to their daughter Mary and by the end of 1982,
they were back in Australia establishing a production pottery, Brindabella Pottery. Set in the Brindabella
ranges, well over an hour from Canberra by a rutted dirt road, the pottery, an extensive house, gallery
and studio, was built by her husband, who also worked in the pottery when construction tailed off.
'4 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Profile
DeBoos, meanwhile, threw and glazed the pots, mainly in a limited range of strong colours, a shino
look-alike and tenmoku. "I was making domestic ware, which was always my real love, " she says, "as
well as dry-glazed decorative pots, which were based on functional forms, so 'like teapots' or 'like
jugs'. They were so easy to make compared with the domestic ware. I could sit down and throw over
a thousand dollars wholesale of those pots in a day, so the return on them was fantastic." The pottery
was run as a business with no hired staff, no goods on consignment, no retail sales, and minimum
wholesale orders of $1000 with pots exchangeable if unsold after six months. "We never had any
returns," says DeBoos, adding that they sold everything they made.
A dedication to domestic pottery also drove the development of DeBoos' exhibition work. "The longer
I work with functional form ... the more I realize its potential as a vehicle for artistic expression," 1 she
observed. In 1985 she experienced a kind of epiphany, a realisation that the twenty teapots she might
throw at one time were all part of the one work, Teapot, and that "the essential art of the production
potter lies in the repetition of form" . 2 She later wrote that "since then, my work has focused almost
entirely on functional pottery, the nature of its production and the meaning of function ".3 While other
ceramic artists tended to exhibit non-functional vessels and sculptural forms in shows and prizes,
DeBoos began presenting her production ware in series to highlight both the similarity that unified the
pots, and the nuances that differentiated them.
Influenced by shells on the beach after a move to Tanja on the NSW south coast, she switched
to porcellaneous stoneware (TMK) and later to porcelain itself. Exploring process and repetition, she
began adding a single spiralling mark to the outside of each pot and in a 1996 exhibition, Process
& Obsession at the Performance Space, Sydney, she exhibited the precursors of the thinly thrown

Profile
porcelain domestic ware with distinctive gestural marks that became her signature. "My work talks
about the theatre of making, the resistance of porcelain to complete control, the struggle to coax form
from the mass, the frisson of danger in the near collapse, "4 she writes. While the interplay of process
and material produced the immediacy of the aesthetic, the idea of repetition is key. " I'm thrilled by
repetition," she says.s The notion of sets and what constitutes a set, and the history of pottery are also
areas of interest, along with the expression of the hand-made as a connection with humanity, and the
way meaning is overlaid onto domestic ware through use.
In 1985 DeBoos took up teaching glaze again at the School of Art, Canberra, at first just one day
a week. then later job-sharing with Greg Daly for six years before taking on the role of Head of the
Ceramic Workshop at ANU in 1998 (and closing the pottery.) Along with administration, teaching
and research, DeBoos has spent her time there contributing actively to the broader ceramic fraternity,
hosting conferences, writing journal articles, giving lectures and facilitating interaction between
students, the ceramic community and different cultural groups including fostering relationships with
the ceramics industry in China. Notably. she has also supported the Ernabella Indigenous Arts Centre
Remote Communities Project and developed Australia's first Undergraduate Award Course in ceramics
run in distance mode, which is now discontinued. DeBoos expects to retire from her position as Head of
Ceramics at the end of this year.
Without dOUbt, her 'China experience' - the connections and relationships DeBoos has developed
with Chinese ceramic manufacturers, academics and institutions - has redirected her life. When ANU
hosted the 8th National Ceramics Conference in 1996, one of the speakers was Professor Zhang
Shouzhi, a respected Chinese designer and Head of Ceramics at what is now Tsinghua University in

Beijing. When De Boos met the professor again at a symposium for western potters in Yixin, China,
it was "the beginning of a long friendship" . Invited to China again a couple of years later, DeBoos
attended an industry symposium in Zibo, a large industrial ceramic centre in Shandong Province, and
at Professor Zhang's instigation a set of her porcelain domestic ware designs were put into produdion
at the Huaguang Bone China Fadory, Zibo. Investigating the difference between her hand-thrown
porcelain wares and their fadory-made bone china counterparts has been a primary concern for
DeBoos, as has the notion that she has become a designer rather than a maker.6 Since the Chinese
market views unadorned white china as 'hotel ware', Professor Zhang, who collaborated with DeBoos in
designing decorative decals for the series, also persuaded her to look at decoration herself.
Having previously always eschewed decoration, DeBoos quotes a homily of her mother's, " You should
bring the enemy into your own camp, Janet!", and with that in mind she did investigate decoration
"and found it very interesting". At first, prompted by the history of Western tableware, she decorated
her work with decals of an old chintz pattern she'd found called 'Summertime Rose' . By 2003 and 2004
she was exhibiting these works under the title of Set Theory: tea sets comprised of disparate elements
- some porcelain, bone china, hand-thrown and slip-cast, even commercial mugs - with Summertime
Rose as the unifying fador.
Since then she has taken a different diredion again, producing highly decorated straight-sided vessels
that "bring together a lot of different threads" in her work.

Profi le
"I realised I was again standing between
two things: the culture here and the culture
there, " she says of the designs that combine
Qing Dynasty imagery with motifs drawn
from the Australian bush and desert. To
make them she uses sgraffito and terra
sigiliata, techniques she often taught.'and
plant forms and patterns that refled her
doodles, the "telephone art" she's done all
her life. The work "seemed to make itself.
It's the first time I've had that experience,"
she says. "I think I've always been
interested in the space between things", between industry and the hand-made, between fundional
and non-fundional, and increasingly, between China and Australia, which is where her future, as she
enthusiastically pursues her numerous ongoing projeds and plans, is bound to blossom as it unfolds.
1 Jan(>t Mansfield. Contemporary Ceramic Art;n Australia and New Zealand. Roseville East NSW. Craftsman House, 1995. p 44
2 Janel OeBoos. 'The Plight of the Studio Potter', Pottery In Australia, Vol 28 No 2, 1989, p. l l
3 Janet OeBoos, 'The Meamng of Function', Pottery In Australia, Vol 35 No 1, 1996, p.24
4 Cudgegong Gallery, NSW Austral1a, Artist Janet DeBoos, \'\IIMV.cudgegonggallery.com aulartisCdetall.php?gID=3&aID=88 (accessed 14/5/1 2)
5 Janet DeBoos, 'Handmade? DeSigned? What does It mean?' The Journal of Australian Ceramics. Vol 44, No 1, 2005. p.l 5
6 Virtual Craft, new technologies and their effect on the making and teaching of art, craft and design:
http://virtualterntorywordpfe!.s.com/2007106tU4/designermaker-statement - l-Jc3net·deboosl (accessed 16/S112)
Photographer: Anthony Browell

Profile
1948
1953-65
1966-1969
1970-1 971
1972-1975
1973- 1975
1974-1975
1976-1978
1978
1979
1979-1980
1980
1982-1998
1983-1987
1984
1985
1985- 1997
1986
1988
1989
1991
1994
1996
2004
2006
2007
2008
1997
1998-
2000
2001
2002
2003-
2008-
2009
2010
201 1
2012
JA NET DE BOOS
Born in Melbourne
Grew up in Blakehurst, southern Sydney
Bachelor of Science, Sydney University, Sydney, NSW
Ceramic Certificate, National Art School, East Sydney Technical College, (ESTC)
Sydney, NSW
Taught at Canberra Technical College School of Art, Canberra, ACT
Ran woodfiring summer schools in Mudgee
Studied Fine Arts and Italian, Sydney University, Sydney, NSW
Taught ceramics at Randwick and St George Technical Colleges, Sydney, NSW
Wrote Glazes for Australian Potters
Solo exhibition, Fusions Gallery, Brisbane, QLD
Head Teacher Ceramics, ESTC, Sydney, NSW
Exhibition at Potters Gallery, Sydney, NSW
Produdion potter, Brindabella Pottery
Ran summer residential courses at Brindabella Pottery
Co-wrote Handbook for Australian Potters
Queensland Potters' Association Gallery, Brisbane, QLD
Ledurer in Ceramics, Canberra School of Art, Australian National University, (ANU)
Canberra, ACT
Solo exhibition, Potters Gallery, Sydney, NSW
Delivered the Doug Alexander Memorial Lecture: The Plight of the Studio Potter
More Glazes for Australian Potters was published
A Change of Scenery, solo exhibition at Narek Galleries, Tharwa, ACT
Memories of the Domestic Life, Ceramic Art Gallery, Sydney, NSW
Co-chaired the 8th Australian Ceramics Conference, Canberra, ACT; Won Highly
Commended Acquisition Award, Gold Coast International Ceramic Award;
Living Dangerously, exhibition ANU SOA Foyer Gallery, Canberra, ACT
Memories of the Domestic Life, Weswal Gallery, Tamworth, NSW
Became Head of Ceramics Workshop, Canberra School of Art, ANU, Canberra, ACT
Domestic Concerns, (with Patsy Hely), Ceramic Art Gallery, Sydney, NSW
Composite of Opposites, (with Alan Watt) at Drill Hall Gallery, Canberra, ACT
DeBoos originals factory-produced by PaolaC Ceramics, Aldo Cibic Design, Milan, Italy
Invited to be honorary domestic ware designer at Huaguang Bone China Fadory,
Zibo, Shandong Province, PRC
DeBoos-designed, fadory-made bone china tea set awarded Silver Medal in Chinese
National Tableware Competition, PRC
Spoke on 'The Distributed Studio', at Verge, the 11th Australian Ceramics Triennale,
Brisbane; Sublime exhibition, Narek Galleries, Tanja, NSW; Pourers designed for
produdion by Songfa Ceramics, Chaozhou, PRC
Collaborated in limited edition produdion: DeBoos-designed, Huaguang bone china
tea set decorated by Prof. Zhang Shouzhi
Entropy and Other Considerations, exhibition at Skepsi on Swanston Gallery,
Melbourne, VIC
Began involvement with Ernabella Indigenous Arts Centre/Remote Communities Project, SA
Education Panel Member, 12th Australian Ceramics Triennale, Sydney; Presenter
at National Council for Education in the Ceramic Arts (NCECA) Conference, Phoenix,
Arizona, USA; Organised factory symposium for nine artists, Huaguang Bone China
Fadory, Zibo
Solo exhibition Scratching the Surface, Narek Galleries, Tanja NSW
Advisor to Cheongju International Craft Biennale, PRC
Presenter at NCECA, Seattle, USA; Guest Presenter at Royal College of Art, London, UK
20 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Focus: Indige nous Ceramics
Jeannie Herbert Nungarrayi, Warlpin born 1953, Ngarlkirdi Julcurrpa (Witchetty Grub Dreaming), 1989, earthenware
h.2Ocm, w.20.6cm, National Gallery of Victoria, Melbourne; purchased from Admission Funds, t 991 (0.8-1991)
The 1989 Lajamanu
Ceramics Project
A Potted History by Christine Nicholls
From 1982- 1991, I lived and worked with Warlpiri Aboriginal people at Lajamanu. Situated in the
Tanam i Desert of the Northern Territory, Lajamanu is almost 700 kilometres away from the ne~rest
town of any size (Katherine), and home to more than 700 Warlpiri Aboriginal people who, following
a successful 1976 land claim, are also the legal landholders. The desert climate is harsh, mostly hot
and dry, with the temperature at times exceeding 50 0 ( in the shade, although in winter it occasionally
plummets below zero.
Initially, in 1982, I held the position of Lajamanu's first teacher-linguist, working with Warlpiri people
to set up the local school's inaugural bilingual education program, using the Warlpiri language and
English. In 1984 I accepted the position of Principal of Lajamanu School, a school with an average
enrolment of around 200 children.
THE JOURNAL OF AUSTRALIAN CERAMICS IULY 2012 21

Focus: Indigen ous Ceram ics
-------
Christine Nicholls (Napurrurla). with
5-year-old Anna Napurrurla sitting on
her lap. awaiting a women's yawutyu
ceremony, c 1988, lajamanu
In addition, I was responsible for Adult Education programs at Lajamanu, which, in theory, were open
to all Warlpiri adults wishing to participate. For most of the time that I lived at Lajamanu the Adult
Education position remained unfilled, meaning that I and other staff members effectively functioned as
de facto adult educators, organising, when possible, programs to meet the educational needs of adult
Warlpiri community members.
The experience of living at Lajamanu in the 1980s was mostly exhilarating, though at times stressful
and exhausting, mainly on account of the prevalent racism of many whites towards Warlpiri. In the
course of the years that I lived and worked there, I became progressively more involved in Warlpiri
ceremonial life. As a result I learned about the Warlpiri land-based religion called the Jukurrpa, which is
also the basis for Warlpiri social organisation.
During the same period, as school principal, I organised visiting arts educators to come to Lajamanu to
work on specific projects with the school children. One such visitor was Robin Laurie, a founder of Circus
Oz, who travelled to Lajamanu from Melbourne in the late '80s to conduct a drama and performancebased
residency, culminating in the Lajamanu children touring Territory Aboriginal schools to perform
their own circus.
It was considerably more difficult to source funding for arts-based programs for adult community
members, largely because of the entrenched racism of Territory bureaucrats at that time, who used the
Warlpiri adults' lack of literacy skills (unsurprising as they had been brought up in the bush with no
access to western schooling), as a 'reason' to deny this group educational opportunities.
Nevertheless, from time-to-time, arts-based adult education programs and projects were organised.
These included the successful 1988-89 ceramics project, which culminated in an exhibition of 39
Lajamanu ceramic works at the National Gallery of Victoria in 1990. The NGV eventually acquired nine
of those works, which are now in its permanent collection.
The 1988 and 1989 Lajamanu Ceramics Programs
In early 1988, two professional ceramicists, French-speaking Canadian Claire Larrivee and her Belgian
born partner Francis Janssen, contacted me via two-way radio, proposing that they visit Lajamanu
later in the year to introduce ceramics to the school children. I agreed without demur, and a couple of
months later the ceramicists arrived at Lajamanu.
22 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

----
Focus: Indigenous Ceramics
During that initial one-week visit the ceramicists worked energetically and productively w ith school
children and staff, mixing well with Lajamanu community members. Their positive engagement with the
wider Warlpiri community led me to invite the pair to return to Lajamanu the following year to conduct
a longer ceramics residency.
Surprisingly, the submission for funding proved successful, enabling the potters to return in 1989 to
implement a longer, more ambitiOUS ceramics project aimed specifically at older Warlpiri community
members. On their return it was decided that they would work on two ceramic projects for adults,
the first to be a 3-month-long ceramics workshop open to adult Warlpiri and non-Warlpiri Lajamanu
residents. It was further decided that classes would take place on weekday evenings, because during the
day it was so stiflingly hot. Teachers at the school were eligible to sign up for those night classes.
Among the school staff who participated regularly were Gracie White Napaljarri and Marjorie
Nungarrayi Watson, two Warlpiri early childhood teachers. Jeannie Herbert Nungarrayi, the only fully
qualified Warlpiri teacher at Lajamanu School in 1989, also became passionately committed to the
ceramics workshop, turning her hand to making pots that were distinctive in terms of their conceptual
basis and shape. Several non-Indigenous teachers attended too, including myself and early childhood
teacher Shannon Hapaanen.
Other attendees included an enthusiastic group of middle-aged women including Biddy Rockman
Napaljarri and Myra Patrick Nungarrayi, several slightly younger participants including Marlene Johnson
Nampijinpa an d Valerie Patterson Napanangka, and a group of younger-still participants including
Belinda Nakamarra and Barbara Morrison Nakamarra. On any given weekday evening, depending
on what was happening in the
community, there could be as few
as six or as many as 30-35 people
participating in those ceramic
workshops. Less regular attendees
included Peggy Rockman Napaljarri,
Li ly Nungarrayi Hargraves, and
Yulyurlu (Lorna) Napurrurla, who
later became a celebrated painter.
The latter group of older women
comprised great colourists who,
despite not being able to attend the
workshops daily as a result of their
family responsibilities, inspired other
younger participants to take risks
with their ceramic artworks.
Jeannie Herbert Nungarrayi, Warlpiri born 1953, Ngarlkirdi
Jukurrpa (Witchetty Grub Dreaming), 1989, earthenware, h.20.2cm
w.20.2cm, National Gallery of Victoria, Melbourne
Purchased from Admission Funds, 1991 (0.9-1991 )
A few Warlpiri men attended
sporadically, for example Marlene
Johnson Nampijinpa's husband
Cecil Johnson Japangardi. The
group almost entirely comprised
women, however, partly because
of avoidance relationships between

Focus: Indigenous Ceramics
-----
certain adult Warlpiri men and their mothers-in-law, but also because, on the whole, the women were
keener to learn about and to make ceramic works.
The workshops themselves were dynamic, convivial affairs underscored by a sense of esprit de corps;
we constituted a lively, talkative, united group. The dominant feeling was that we had collectively
embarked on a significant as well as immensely pleasurable project. It was a rare opportunity for
a genuinely 'level playing field' collaboration between Indigenous and non-Indigenous community
members, notwithstanding the unarguable fact that the most aesthetically pleasing artworks were
created by the adult Warlpiri women.
In terms of making, most of the Warlpiri women adopted a uniform technique. As Claire Larrivee
explained:
Often the women painted a black slip over the terra cotta colour and then painted on top of that. We let
them work as they liked and just helped with the technique. After all, they are painters and they have
their own sense of colour. The paintings representing Dreamings are also a means of expression for each
artist and each one works in a particular way 1
Claire and Francis were also conducting a second pottery project during the day, also at the school
and open to Warlpiri adults living at Lajamanu . In practice, 100 per cent of the participants were
women. Francis and Claire made and fired multiple individual, standard-size ceramic tiles, which the
women then painted and decorated with their own Jukurrpa (,Dreamings'). Eventually two sizeable
murals were assembled from the individual tiles, the largest of which was subsequently mounted on the
most prominent wall inside the school staffroom. As a public display, the mural became a source of real
community pride, also drawing unqualified admiration from visitors to Lajamanu.
To return to the evening workshops, after firing the individual ceramic works, each artist-creator then
painted the work with her personal Jukurrpa, thereby taking the object out of the secular domain and
into the sacred . It is important to understand that these Jukurrpa, which are fundamentally expressions
of the desert traversals of Warlpiri Creator Ancestors during the foundational creation time known in
inadequate English translation as 'The Dreaming', and which also relate closely to localised ecosystems
of highly specific tracts of land owned or managed by those artists who are permitted to render them
in visual form, are subject to the intellectual and artistic copyright of the specific individuals and groups
with which they are affiliated. So by applying their Jukurrpa designs onto their ceramic works, the
women transformed them into expressions of the Warlpiri religion - a belief system that is grounded in
the earth.
From Remote Warlpiri Settlement to Gallery Walls:
A Discussion of the 1989 Ceramic Works Acquired by the NGV
The balance of this article entails discussion of several of the Warlpiri women's works, specifically those
acquired in 1990 by the National Gallery of Victoria.
Jeannie Herbert Nungarrayi's pots were unique insofar as she was the only Warlpiri participant in that
1989 evening ceramics workshop whose work was influenced by that of another ceramicist, although
before 1989 she had never tried her hand at making. Nungarrayi was, in fact, the only participant in
the project who had any prior knowledge of ceramics. Before British colonisation there had been no
Australian vernacular pottery tradition, although in recent years the number of Indigenous Australian
potters has been rising exponentially.
24 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Focus : Indigenous Ceramics
------
Now part of the NGV's
collection, Nungarrayi's two
marvellous Ngarlkirdi Jukurrpa
(Witchetty Grub Dreaming)
ceramic works were strongly
influenced, particularly in
terms of their shape, by the
work of the late Thaynakwith
language-speaking
Aboriginal potter, Thancoupie
(Thanakupi). It transpired
that about 10 years before
the 1989 Lajamanu pottery
project, Jeannie Nungarrayi
had visited the pottery studio
of the celebrated ceramicist
Thancoupie at Trinity Beach
in Northern Queensland
(personal communication from
Jeannie Herbert Nungarrayi to
Myra Nungarrayi Patrick, Warlpiri born c.1946. Warna Jukurrpa (Little
Snake DreamingJ, 1989, earthenware, slip, glaze, h.8.2cm, w.24.Scm, d.21.7cm
Purchased from Admission funds, 1991 (0.10-1991)
Christine Nicholls, 1989). She met and talked with Thancoupie (1937-201 1) and observed her making
the signature spherical and egg-shaped ceramic sculptures that she had begun to make c1976. At
the Lajamanu workshop, Nungarrayi modelled her own largish, vaguely egg-shaped ceramic pots on
Thancoupie's. That fortuitous meeting in the 1970s engendered in Nungarrayi an immense admiration
for Thancoupie as person and potter, as well as for her advocacy, work and passion for Indigenous
language maintenance. Nungarrayi also inclined towards Thancoupie's work because the Queensland
Aboriginal woman was using her pottery as a means of expressing her own distinctive, coastal,
Thaynakwith identity. In a similar vein, Nungarrayi conceptualised her own pots, painted with Tanami
Desert Jukurrpa, as assertions of her own Warlpiri identity.
While Nungarrayi's own loosely spherical, earthenware pots on which she painted the Ngarlkirdi
Jukurrpa, an inheritance from her father and grandfather, were made with Thancoupie's work firmly in
mind, the Warlpiri artist's splendid pots are by no means unmediated versions of the Queenslander's.
Jeannie Nungarrayi did not photograph Thancoupie's work on her Queensland visit. but, nevertheless,
almost a decade later Thancoupie's work emerged as an important conceptual influence on her own.
The ngarlkirdi designs that Nungarrayi applied to her unglazed, relatively unadorned earthenware
pots include references to small bushes called in Warlpiri punturnarri and puntalji, the roots of which
are inhabited by ngarlkirdi (witchetties). Delightfully evocative figurative depictions of the actual grubs,
classified by Warlpiri as pama (delicacies) adorn Nungarrayi's pots. The three-dimensionality of the
work lends the little, white, bright-eyed creatures an air of squirming. Nungarrayi also includes subtle,
minimalist, non-figurative representations of women collecting the grubs. Depicted as u-shapes, the
women are accompanied by long, sharply pointed digging sticks used to dig up the roots of the small
trees inside which these very tasty grubs subsist.
By contrast, Myra Patrick Nungarrayi, an artistic individualist, represents her Warna Jukurrpa (Little
Snake Dreaming, earthenware, slip, glaze) as an intricate matrix of fine dotting interspersed by small,
writhing snakes associated with male initiation. The latter constitutes the major design element of this
work. In terms of shape, this work suggests a Warlpiri parraja (coolamon). Parraja are medium-sized,
THE JOURNAL Of AUSTRALIAN CERAMICS JULY 2012 25

..
'
.
I·.~·::I.~-.,: ." ....
// .1( " ., :' .-, '
.,' .: :" ~: t ..· ":
,:'" .. . ~ ~!' .
,-:,' .1 .0 ~: A ,
' f .. _;.. ~ . • t' •
.. ~ i • ... I," f'" :
~, : " :: ~ .~.
" .
e '
i).~ . of • • ••
• ~ '1 • '"t •. :.
I , . ...... ... . "Ao. " 1~~ :.. II ...
.. ~ . \ .. ,.,........... '-'" -'
.:. "" . -~ . . .
1, - .,.•••• ~ • • ~ ~_' ___ "
'0' \ . : :fIt,.- . ._'
'" ......... ~ . ...-:- :. .......
;~ ; \ " f
. /1; .... -,.T ····
: .~ : ...,. f .. ~''\.' . '''' ' . .,
" ', .,.., . I . ' • . ., . ""
.' . . :. :; : ", -:.. ' .-
· · ~I··I"" ,••
... < " .~)":'. '" \~"" " " ....... '. '
I'· •• , "'r '
.... ~",,--..
. "
; ", .. \:. . '. ~ .
:, .. ": " ..... '.
" . : : ... \ ~ ;: ~." .', ..
... . *.: ~'" ,' : J ,.
t . .. _ " " .. ; .. \
. ... ~ .. , '\.' ~ '-. .. '
..... , '0: 'A ,'
'. ~ ', .....
. . .
\. ',.'
~ I J ..... #. I ,. 'b . .. .. t .
. ' • .. r • ~ .. 1 -,'
" .~~~\ ~ ~ : ~ : ...
. , 1 • ~ • .tw. , t'. .. r-".- 0'
.. ~ .
Biddy Napaljarri Rockman, Warlpiri born early 1940s, Warlu
Jukurrpa (Bush Fire Dreaming), 1989 earthenware. h.S.8cm
w.45.2cm, d.23.4cm; purchased from Admission Funds, 1991
(0.11·1991)
mUltipurpose, concave wooden dishes or
bowls made from yinirnti (bean trees),
routinely used by women for collecting and
carrying vegetable food, small animals or
water. Also used for winnowing, and at
times as head rests, parraja are deployed
in specific ceremonial contexts as Jukurrpa·
painted artefacts. They are even used as
babies' cradles, lined with soft paperbark
'sheets'. Parraja are strongly associated with
Warlpiri women and Myra Nungarrayi's
ceramic parraja reflects this. This work, which
evokes a battle between two snakes during
the Jukurrpa, is characterised by the artist's
signature style of refined, delicate dotting.
Claire Larrivee commented to Helen
Stephens (Ibid, 1990:pSO) that in the course
of the ceramics workshop the women
became progressively more influenced by
each other's work. Such influence was
evident in the adoption by some of the
younger artists of Myra Nungarrayi 's parraja
form, but also in their emulation of the
style of highly respected senior artist Biddy
Rockman Napaljarri. Napaljarri's decorated
earthenware Warlukurlangu Jukurrpa
(Fire Dreaming) work provides an excellent
example of the more conventionalised
Warlpiri style typical of that era . This style,
characterised by larger dotting, bold iconography, comparatively little infill, and marked by a gradual
'flattening' of these earthworks, many of which began as high·sided bowls, certainly influenced many
artists and their work, including Marlene Johnson Nampinjinpa's finely executed Warna Jukurrpa
(Snake Dreaming).
Barbara Morrison Nakamarra's earthenware work, Ngurlu Jukurrpa (Seed Dreaming), is the
receptacle for a bold, dramatic although powerfully understated rendition of a Jukurrpa narrative based
at a Warlpiri site called Miya Miya in the southern Tanami Desert. In both its painted and oral iterations,
this Jukurrpa is subject to the intellectual copyright of Napurrurla and Nakamarra women in the
classificatory aunt/niece relationship, and also of Jupurrurla and Jakamarra men, who are in a recursive
father/son relationship. The attendant narrative is a lengthy exposition on a complex food chain that
is immensely important to Warlpiri. Ancestral Nakamarra and Napurrurla women collect long grass
seed stems that fall to the ground at and near Miya Miya, in order to make delicious, small seedcake
dampers. Kurlukuku (the Diamond Doves), desert birds that opportunistically gather the same scattered
seeds that float on the wind, compete with the women who are attempting to gather the tiny seeds in
coolamons. At a lower level of the food chain come the ants, depicted by their nests, which are in turn
interconnected by ant tracks. The latter signify the pathways of the female ants that collect and roll the
tiny grass seeds along the red earth to eat and transform into milk for their baby ants. Traces of such
ancestral activity are evident in Morrison's work.
26 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Focus: Indigenous Ceram ics
-- ---- ------- ---
Barbara Nakamarra Morrison, Warlpiri born 1969
Ngurfu Jukurrpa (Seed Dreaming), 1989, earthenware
h.3.&m, w.31.2cm, d.21 cm; purchased from Adm ission
Funds, 1991 (0 .12-1991 )
Conclusion
The painted earthenware works made by the Lajamanu women ceramicists in the 1989 ceramics
workshop led by Claire Larrivee and Francis Janssen embody visual evidence of a period of fertile
artistic creation at Lajamanu. Works of singular felicity and grace, the Lajamanu ceramics seem to
exude a tangible energy specific to Warlpiri people. The artworks created in this workshop also reveal
the remarkable capacity and appa rent ease of the Warlpiri artist-ceramicists to adopt, adapt and
transform what was essentially a foreign medium and tradition into an art form that is uniquely theirs.
Unfortunately, since that inaugural workshop, not one member of this exceptional group of novice
ceramicists has had the opportunity to create more ceramic works. Now, almost a quarter of decade
on, it is time to reprise this exceptional group of women, most of whom are still living, and to convene
another ceram ics workshop so that the Warlpiri women's ceramic works will resonate not just for the
past but for the present and future.
1 Stephens, Helen. 1990, 'laJamanu, Potting a Course for History', Ceramics, An and Perception, Volume 1, pp 50-51
Photos: Courtesy National Gallery of Victoria
Marlene Johnson Nampijinpa, Warlpiri born 1957. Warna Jukurrpa (Snake Dreaming), 1989, earthenware, h3.4cm
w.26.4cm, d.l &m, National Gallery of Victoria, Melbourne; purchased from Admission Funds, 1991 (0.13-1991 )
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 27

Focus: Indigenous Ceramics
Wardell Cemetery, Ballina Shire, northern NSW
Mosaicing a Memorial
Indigenous women on Cabbage Tree Island developed a program with Ballina TAFE
Outreach to meet a local need by using ceramic tiles to decorate headstones.
In 2011, a partnership was formed between Bunjum Culture Matters, Ballina TAFE Outreach and
People of the Reeds to run a mosaic course on Cabbage Tree Island. The People of the Reeds (meaning
Cabbage Tree) is an Aboriginal Arts Group situated on Cabbage Tree Island. The island is situated 20
kilometres south of Ballina and is surrounded by canefields and water. We are known as the Bunjulung
Tribe. We, the ladies of the community, identified a need for an affordable way to create headstones for
our people. Through consultations with Bunjum Cultural Matters and Ballina TAFE Outreach we were
able to organise a mosaics course to be run on the island, This ran for the last six months of 2011 .
We started with a small plaque to develop our technical skills before we started on the headstones.
Before we could start mosaic work on the headstones, a cement core needed to be formed. A mould
was made with formwork and then the headstones were cast in cement. The name plaques for the
front of the headstones were created digitally and then made into a decal. The decals were A4 in size
Women of the Reeds - mosaic class in the Art Shed
Aunty Faye working on the back of a headstone

Focus : Indigenous Ceramics
A group effort
Aunty Faye with her
headstone at the official
ceremony at Wardell
Cemetery
The headstone of
Darren Warren Anderson
and had all the individuals' details on them. They were placed onto a glazed commercial tile and fired
to 800°e. Metal framing was cut to border the plaques and then it was individually decorated in mosaic
around the name plaque with their own designs. These designs included imagery which was meaningful
to our loved one in some way.
Ballina Shire Council has also been supportive and has agreed to provide a cement base to mount the
headstones. To our knowledge, this is the first time a project like this has been run and the ladies are
very proud to be able to do this in the community for our loved ones who have passed on. We hope
that other communities may find this project a creative and personal alternative.
Yours sincerely,
Leanne Anderson, People of the Reeds, Cabbage Tree Island
Bunjum Culture Matters is funded by the Australian Government Indigenous Support Unit.
The headstone of Bradley Samuel Anderson made by Renee
Mosaic detail of fish by Aunty Faye

Focus: Indigenous Ceramics
Mapping it Out
Hamish Swain documents a collaboration
between Stephanie Outridge Field and
Megan Cope
Megan Cope, Meeanjin
2012, mililary maps, Indian ink
metallic paint on canvas diam.76cm
Photo: courtesy artist
"For a collaboration to be successful, it relies on the people involved to be creative, responsive, and
communicate effectively to realise a common goal that everybody's happy with. The journey. however. can
be like driving down a street with no map - you're never sure of the destination",
Stephanie Outridge Field
For Brisbane-based ceramicist Stephanie Outridge Field, collaboration has been a fundamental
component to her career. Although not unheard of whilst she was training at the Sydney College of the
Arts, she says the act of collaborating with fellow artists and community became a more mainstream
practice when public art projeds came to prominence in the late 1980s and early 1990s. Ham ish Swain
met with Stephanie to discuss her approaches to her work, and how these shape the overall outcome.
Stephanie Out ridge Field (SOF): "When I was studying there was a strong gallery model that as an
exhibiting artist, the works you made were put on a plinth, someone would buy it and they would walk
away happy. You were trained to want people to adore you and your work. That soon changed, because
the whole issue about public space and integrated art came to the fore. I did my first collaborative
permanent work in 1987 in Dutton Park, Brisbane - a series of big ceramic columns - with the visually
impaired community of Brisbane."
Hamish Swain (HS): How do you find the process of collaborating compared to working alone?
SOF: Well I do still exhibit but collaborating feeds me as an artist and stops me compromising. In
the 1990s galleries were under duress and I found myself saying, "What should I make, what will
be successful in the exhibition?" I wasn't making the work at my own direction; I was trying to
second guess what the gallery would like or what the public would like. My work wasn't good as a
consequence. This way when I have an exhibition it's about work that I want to put out there.
Stephanie has recently completed a project with Brisbane-based artist Megan Cope. The project was
Megan's first time working with clay as well as her first public art commission. After deciding that clay
might be the most suitable medium for her work, she had approached Stephanie with paintings that she
wanted to be realised in the public sphere.
Hamish Swain interviewed Megan Cope about this collaboration: It is obvious that place plays an
important part in this particular project - why is this so?
Megan Cope (Me): The works are part of a series called After the Flood, which has been ongoing
since 2009. These works are geo-political maps where I appropriate military maps from the 1940s and
generate futuristic watermarks, flood lines of a 5-metre sea level rise. I also delve into the history of
those geographical spaces and research the Aboriginal history, seeking to decolonise the landscape from
30 THE JOURNAL Of AUSTRALIAN CERAMICS JULY 2012

Focus: Indigenous Ceramics
2 Stamped slabs, impressed and ready to cut
3 Megan Cope painting bisqued tiles
4 Stephanie Outridge Field rolling slabs with impressed
slabs stacked ready for firing
an environmental aspect and also from a language and cultural context. One of the things they (the
commissioning agents) were looking for was an artist with a connection to that site and my family are
from Moreton Island and North Stradbroke Island. The Nughie, Gorenpul and Noonuccal people had
connections with the Gubbi Gubbi or Kabi Kabi people of Redcliffe, and there was a lot of trade and
interaction going on prior to colonisation so there was a definite connection to that site. The specific
locations within this installation reference certain historical points in time. "Kau-in Kau-in" ('red like
blood') at Skirmish Point is the name given by Captain Phillip after an altercation with the Turrbul
people. "Humpybong" ('dead houses') is the name given by the Aboriginal people to the remnants of
the township left after Logan abandoned the establishment. I wanted to reference those three historical
aspects and integrate them into the cultural landscape.
HS: How have your collaborative experiences been prior to After the Flood, and how did you find
working with Stephanie?
MC: I have collaborated with other people, but this project is the first I've done where there's been
such an extensive interdependence on each other's skills. After I got the commission, there were various
ways [to proceedJ . Previous proposals and methodologies that I sought were not suitable, so the
agency suggested using clay and working with Stephanie. Stephanie made me feel very confident that
we would be able to maintain the aesthetic that I have in my maps and that its conceptual integrity
would remain. Of course there were a lot of challenges, but we worked together quite well in terms of
problem solving and suggestions: Stephanie was able to say, "Yes, we should be able to do that!"
Stephanie and Megan found an artistic kinship during the project, learning from each other during
the six months working together. For Stephanie, maintaining the significance and integrity of Megan's
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 )1

Focus: Indigenous Ceram ics
---
1 Megan Cope and Stephanie Outridge Field review underglaze colouring
2 Stephanie Outridge Field checking tiles and firing process
3 Stephanie Out ridge Field, Kim Ogle and Glenda Stasse laying out the tile panels
Opposite page
1 Colour and texture test tiles alongside original painting
2 Completed Nindi panel in workshop
3 Completed Nindi panel laid out in darkened studio with resulting glow
4 Stephanie Outridge Field applying decals to stamped rebate
5 Single tile lettering with decal and rebated resin
6 THe panel packed with plastic tile layout and images ready for delivery to the site for installation
32 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 201 2

Focus : Indigenous Ceramics
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 33

Focus: Indigenous Ceramics
2
1 Humpybong panel installed
2 Nindi panel installed
3 Kau-in Kau-in panel installed
3
original works was central to the success of After the Flood. Together they negotiated and navigated
through possible techniques to arrive at the best translation of the work.
SOF: I thought from the very beginning that these were very powerful works. When I began working
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
different to your paintings but hopefully it will have the same strength, and the conceptual integrity of
your ideas will cross that barrier into another material. " 50 instead of being a painting that wouldn't last
in the public realm, this will be in the ground, rain, hail, shine or flood.
I love working with people, seeing the joy on their face when there is a permanent expression of who
they are in the public realm. I've worked with people making work for permanent installation and they're
proud because they were included. Their artwork is recognised and their contribution is valued . Giving
voice to people through permanent clay is key to what I do. It just so happens that I'm a ceramic artist
and clay to me is the perfect cultural document; it's been the cultural document since the beginning of
time and I'm just part of the conversation.
HS: What do you think is the most important piece of advice you could offer anyone considering
collaboration?
SOF: I think the most important thing is establishing a basis for trust. It's not about you, it's about the
project, and so the ego gets beaten out of you fairly quickly. The power play can be a disadvantage to
the project as a whole, and I think the most successful collaboration is about having a common goal.
In that respect, Megan was great to work with as she was very accessible and open to it and curious
about what each of us had to offer the project. The quality of the relationship you build with other
artists certainly does come to bear on the quality of the outcomes. However, there is a balance between
maintaining your integrity and satisfying someone else's demands because I don't want to just be a
fabricator; I want to be a contributing artist. I don't want someone to come to me and say "make that
blue" or "cover that seat," although sometimes you have to do stuff like that for financial reasons. Not
34 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Humpybong panel in Situ
at Charfish Park, RedchHe
Photographer:
Tony Webdale
everyone comes in saying "we embrace your philosophy Stephanie". My bread and butter are largescale
collaborations, and they're not the icing on the cake, because I haven't had the icing on the cake
yet. Well, emotionally I may have, but financially I haven't gotten to the soft, sugary, delicious, let-meroll-around-in-cream
joy of the giant superannuation payout stuff yet.
It's true that Stephanie has an optimistic approach to the whole process, and one cannot help but
resort to cliches when describing how she talks about the project. It's the sparkle in her eye, the big
beaming smile, that makes it more than obvious that she simply loves working with clay and people.
For Stephanie, using her experience and technical knowledge to assist others who have conceptual
goals but are not sure of how to get there, is "the icing on the cake" .
SOF: I think collaborations can be better than the efforts of the individuals. There is a power in a
collaboration that's beyond me making work or Megan making work or every single person in the
community making work. The sum of the parts is greater than the parts in isolation. I think it's really
worth it when you do something that's important to people's hearts and emotions. I thought years
ago when I was training that we were becoming dehumanised; we were being identified by a lot of
numbers and getting more PINs and were increasingly not able to speak to humans face-to-face. This is
the opposite of that. This is about the heart and soul and beliefs and trusts and efforts of real people, in
real places.
Stephanie Outridge Field: ceramicist, curator and writer, 0417 886 185
Megan Cope: artist and curator, 0405 543 787; http://nutmegandhoney.blogspot.com.au
Hamish Swain: freelance writer, 0418 455 101
Tony Webdale: freelance photographer, 0401 816912
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 35

Focus: Indigenous Ceramics
The Hermannsburg Potters
Recent Work
John Rigby looks at the evolution of their work since the late 1980s
The Aranda people from Hermannsburg, a former Lutheran mission about 130 kms west of Alice
Springs, initially established a reputation for their circle of watercolour painters. These painters, almost
all male, drew heavily upon the landscape compositional formats and watercolour techniques that Albert
Namatjira had explored from the late 1930s until his death in 1959. The watercolours of Albert and his
followers bridged European painting traditions with an indigenous understanding of the country, its tales
and its totemic significances.
From the late 1980s, a number of Aranda women adopted ceramics as their preferred expressive
medium. Working together in a shared studio, they developed a highly distinctive form of terracotta
pottery. Their pots, constructed by coil techniques, are robust and energetic in shape rather than
elegantly profiled and fastidiously symmetrical.
Almost invariably - and this is one of the most striking features of the Hermannsburg pots - the pots
are crowned by a hand-modelled lid. These lid-sculptures portray an animal or a bird (which is generally
native to the region) or a figure or set of figures, based upon individuals or generalised characters from
the community. The body of the pot is painted in underglaze. Usually the creatures or the figures on the
lid recur on the painted passages of the pot, but now they are represented in their habitat or, if figures,
going about their working tasks, domestic duties or recreational pastimes.
Unlike the indigenous Ardmore ceramic artists of South Africa - who tend to specialise in throwing,
modeling or glaze-painting, and whose works are collaborative - each Hermannsburg pot is formed,
sculpted and underglaze-painted by a single individual.
Currently, the core potters include Irene Mbitjana Entata, Judith Pungarta Inkamala, Hayley Coultard,
Lindy Panangka Rontji, Rahel Kngwarria Ungwanaka, Rona Panangka Rubuntja and Dawn Wheeler.
Judith, Irene, Rona and Rahel have been central figures since the 1990s, and were amongst the thirteen
potters featured in Jennifer Isaacs' important book Hermannsburg Potters: Aranda Artists of Central
Australia, published in 2000.
Over the last couple of years, the Hermannsburg potters have been reflecting on their community's
history, particularly Hermannsburg's period as a Lutheran mission. Recent work has often found its
subject matter in the events and the personalities of that period. For example, Albert Namatjira has
figured thematically on a number of these pots, often paired with Rex Battarbee who tutored him
in watercolour painting in the 1930s. In some of these recent pots, Albert has been portrayed in
the company of his family, with his sons and other relatives following his passion for watercolour
representations of the Hermannsburg region's plains, mountain ranges, and magisterial trees. In other
works, Albert has been depicted while engaged on painting excursions with Battarbee, collegially
comparing their watercolours and watching each other work. The Dodge B series ute, presented to
Albert in the 19505, is celebrated on the lid of some pots.
36 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Rona Rubuntja
Tourists at Hermannsburg
2011, terracotta, underglaze
h.50cm, w.27cm
Photo: Michel Brouet
Peter Pinson Gallery, Sydney

Focus: Indigenous Ceramics
-----
Pastor Albrecht, who arrived in Hermannsburg in the middle 1920s and set about improving the
material conditions of the community, is another historical character who has figured in recent works.
The lids of these recent 'Stories from Hermannsburg' pots have become unprecedentedly complex.
Rona Rubuntja's Palm Paddock Valley Outstation recalls her fond childhood memories of riding on the
back of the family's old truck as they drove to the river for a fishing expedition. The lid portrays a packed
group of young figures perched cheerfully but precariously on the rear of the truck. Hermannsburg life
in the 1960s is further developed on the body of the pot, where the landscape incorporates a variety of
activities: threatening bats with sticks to drive them away from the mission's fruit trees; horse-breeding
with the associated corrals and horse-floats; the collection of firewood for cooking; and the scrutiny of
water-storage tanks. As rich and panoramic narratives of a community's everyday life, a number of these
social history pots invite comparison with the aerial views of village life painted by Pieter Bruegel the
Elder.
Some of the potters have preferred to continue to focus on the animals and birds of the area. Dawn
Wheeler is particularly attracted to budgerigars, recalling spectacles of massed, swooping flights, and
also their use as bush tucker. The sculptures on her pots' lids typically capture the subtle behaviours and
1 Dawn Wheeler, Rosella Family. 2010, h.30cm 2 Irene Entata, M ission Days: Rodeo Stockman on Bucking Bull,
2010, h34

Focus: Indigenous Ceramics
affectionate interactions of birds. The same birds may then be depicted aligned on a branch, frieze-like,
in front of an expansive comparatively vacant Hermannsburg landscape.
Rahel Ungwanaka is also notable for her birds, especially the owl. Her predatory owls confront the
viewer, while behind them stretch Aranda landscapes of formidable boulders or shimmering, blooming
plants. Rahel's pots emerge from a patient process of preliminary studies and she may only complete six
pots a year.
Like the Hermannsburg watercolourists, the Hermannsburg potters have linkages with European visual
art traditions, but their attitude to their subject matter, to three-dimensional form, and to underglaze
ceramic painting is highly personal and cont inues to evolve .
John Rigby is the Manager/Art-Coordinator of the Hermannsburg Potters Aboriginal
Corporation; www.hermannsburgpotters.com.au
Hermannsburg Potters: Reflecting on the Past. Interpreting the Present.
21 March - 14 April, 2012, Peter Pinson Gallery, www.peterpinsongallery.com
Editor's note: Many thanks to Peter Pinson for his assistance with the article.
1 Irene E"tata, Mission Days-: Rubbing Salt Women, 2010, h.37cm 2 Irene Entata, Hermannsburg Stock Yards ,
2011. h.42cm 3 Judith Inkamala, Albert (Namatjira), Rex (8attarbee) and Family. Painting Country, 2011 , h.56cm
4 Dawn Wheeler, Budgerigars; Central Australian Landscape, 201 1, h.38cm 5 Lindy Rontji, Cockatoos. 2009.
h. 4Scm 6 Lindy Rontji, Rocks (rom the Quarry. 2010, h.41 cm: all work is terracotta with underglaze.
Photos: Michel Brouet; Courtesy Peter Pinson Gallery, Sydney
4
2
S
3
6

Ricardo Idagi
The Coconut, 2012, glazed
earthenware. h.34cm, w.27cm
d.24cm; photo: Simon Anderson
Courtesy artist and Vivien
Anderson Gallery Melbourne
Dec% nising, March 2012
'WW'N.vivienandersongallery.com
Ricardo Idagi - The Coconut
A common practice of teasing someone is to call them a coconut - white on the inside and brown on
the outside. This could also be called the tall poppy syndrome. It means you love white people and live
their values even though you have a black skin. You disregard your own race and the values it holds.
This coconut/tall poppy syndrome is so negative it has crippled me from a young age as I tried to
integrate. The effect has been so great that I have lived on the fringes of society and still continue to do
so today. Ever since birth as a Torres Strait Islander child I have had to adapt and my environment has
been a strange and contrary world.
In my family home, adults spoke 'Meryam mir', the traditional language. When I went to primary
school on Mer, everyone spoke Pidgin, the Torres Strait Creole, except for the white principal who spoke
English. As a Coconut, I would have preferred to converse in perfect English, then speak to my elders in
Meryam mir and disregard the derogatory slave lingo, Torres Strait Creole. In using this lingo, people can
continue to live in the perfect world of the second-class citizen; Creole is the language of slave labour
in which we unthinkingly use expressions like 'kole' which originally meant master or boss-man; today,
however, every white man is 'kole'. Continuing with this slave language, we even call our bros, 'coon'.
"Bala speak da coon em come ya pass." (Tell that bloke to come here.)
40 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Focus: Indigenous Ceramics
New art facility at the Batchelor Institute of Indigenous Tertiary Education (SIITE)
Batchelor Institute gets a
new home
Jacki Fleet reports from the Centre
Batchelor Institute of Indigenous Tertiary Education (BIITE) is a major provider of Tertiary education and
training to Indigenous clients from around Australia.
2012 is a year worth celebrating for the Batchelor Institute's Alice Springs Art and Craft Department,
as our spectacular new art facility (with a focus on Indigenous ceramics) opens in June. BIiTE's operations
in Central Australia have been progressively moving from the old Alice Springs campus to the Desert
Knowledge Precinct (DPC) on the Stuart Highway south of Alice Springs. Within this precinct Batchelor
Institute and the Centre for Appropriate Technology (CAT) have joined forces under the umbrella of the
Desert Peoples Centre (DPC).
The Art and Craft Department offers Certificates I to III in Visual Arts and Contemporary Craft and
Certificates I and II in Aboriginal or Torres Strait Islander Cultural Arts in block delivery, focusing on a
variety of disciplines such as ceramics, painting, printmaking and textiles.
The art facility at the DPC has a modern ceramics room and kiln room, and the expertise of lecturers
Amanda McMillan (ceramicist) and Brigida Stewart (sculptor), both local artists from Alice Springs. The
Top End also has a ceramics facility in their workshop area in Batchelor, near Darwin. The art and craft
building will also be home to the curator of the Batchelor Institute Art Collection, Stephen Anderson.
This collection kicked off more than twenty years ago, and is now making a significant and unique
contribution to Indigenous art.
The department works collaboratively with many communities, art centres and local Indigenous artists,
aiming to be proactive in the growth of social enterprises within the region by assisting artists to refine
their skills and knowledge in their chosen field. We are now well positioned to add to the strengths of
local communities and artists interested in developing and refining their product.
Jacki Fleet is Senior Lecturer, Arts & Craft, Faculty of Education, Arts & Social Science at
Batchelor Institute of Indigenous Tertiary Education.
Contacts: Amanda McMillan, 0417 344 521; Brigida Stewart, 0417 805 987
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 41

Focus: In digenous Ceramics
2011 Indigenous
Ceramic Art Award
A brief extract from the catalogue essay by Julie Gough, 'Up Close and Personal ­
Diverse and Dedicated Indigenous Ceramicists in Australia'
Every two years, Shepparton Art Museum hosts a unique exhibition and its associated art prize. The
Indigenous Ceramic Art Award showcases and encourages what has been for several decades a
substantial yet relatively unassuming field of Indigenous artists Australia wide. Geographically and
culturally diverse, most of these makers are busy with cultural obligations and are renowned for their
art output in other mediums. Their decision to explore the potential of clay, given demand on most for
their other art forms, reflects a genuine embrace of ceramics by the makers.
The expression of Indigenous ceramic art across Australia is diverse, but altogether it reveals a respect
for continuity in tradition across extended families. Given the firing and transportation needs of clay it
is a democratic medium; sharing of the clay and the kiln naturally affects a sense of studio liaison for
many while making work and filling, firing and emptying the kiln.
A faculty for experimentation and an attachment to the transmissive potential of this medium is the
foundation for an arts movement steadily gaining Indigenous ground Australia wide. A non-curated
art award such as this developed by Shepparton Art Museum offers a unique insight into the state of
Indigenous arts generally. This year's exhibition reveals a cross-section of the shape Indigenous ceramics
is taking.
First prize winner Janet Fieldhouse references and impresses elements of various existent cultural
practices into her field of ceramics. Tattoo, 2011, reveals a perceptive clarity in selecting what can
translate into ceramics, what these cultural practices might bring to the medium, and what this
medium will offer to an increased understanding of these objects' significance. Her work is a rare
combination of aesthetic power and an affecting conceptual insight that comes from being both in
culture and with the medium at hand. Her working practices can be seen to explore or reproduce her
culture in new ways, undertakings most evident in the work of the Tiwi, Hermannsburg, Girringun,
Lardil and Ernabella artists.
Fieldhouse is, however, not part of a school or group of ceramicists, and her pieces as a result reflect
a quieter, more privately introspective journey of discovery or revelation generously shared with viewers.
Keraflex flexible porcelain sheets are often used as they enable her to weave forms in the manner of
her Torres Strait Islander ancestors. She makes uncanny frozen, ghostly white armbands and other
performance paraphernalia.
In Tattoo, Fieldhouse extended the idea of seeing and scrutinising culture and its objects differently,
out of context, by recreated a tattoo in white. In part translucent and set in the round as a light box,
when activated it reveals the intricacies of body markings. The beauty of this object, all ied with its
disconnection from an actual body, provides the work its disconcerting, captivating strength.
42 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 20.2

Above:
First Prize: Janet
Fieldhouse, Community!
language group: Torres
Strait Islands; lives and
works in Canberra, ACT
Tattoo, 2011 , flexible
porcelain with light box
diam.3Ocm, d.1Ocm
Photo: Matthew Stanton
Courtesy artist and Vivien
Anderson Gallery
left: Joint Second Prize!
Vidorian Prize: Vera
Cooper, Communityl
language group: Yorta
Yorta; lives and works
Echuca, VIC; Yorta Yorta
Land and Law, hAOcm,
Yorta Yarta Elde rs
Along the River, h.22cm
Yorta Yorta Generation
h.39cm, 2010, Feeneys
clay; photo: Matthew
Stanton; courtesy artist
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 20 12 43

Highly Commended: Nancy Wilson
(ommunityllaoguage group: lardil
Lives and works Mornington Island, OLD
Barra mundi, 2010, ceramic. h.24cm
w.SScm; photo: Matthew Stanton
Courtesy artist. Mornington Island Art
and Aleaston Gallery
Yorta Yorta Elder Vera Cooper from Echuca on the River Murray was awarded both the second and
Victorian prize for her triptych, three intimate figures each individually titled; Yorta Yorta Elders Along
the River, 2011, Yorta Yorta Land and Law, 2011, and Yorta Yorta Generation, 2011. Their
intricate overlapping designs reveal multiple stories important to the artist, like the majestic. meandering
waterways of the Murray River. the repetitive traditional geometric patterns often used on weaponry,
and the silhouettes of her people, her community. Cooper's pitted and linear indented surface work is
beautiful at a distance and exhilarating in detail.
Sharing in second prize is Southeast Queensland Wakka Wakka artist Cynthia Vogler's Waterways
and The Reef, 2010 - two assured and timeless pots, one dark, one light in tone, whose surfaces
resemble polished river stones. Vogler says, "Clay work forms feel so natural and alive and allow me
to connect with the more earthy nature of cultural expression and identity. "(Cynthia Vogler. artist
statement, 2011)
Highly Commended were both Emily Ngarnal Evans and Nancy Wilson, Lardil women from
Mornington Island. Gulf of Carpentaria in Far North Queensland. They have each rendered single piece
sea creatures. Evans made the Spotted Stingray, 2011, and Wilson the Barramundi. 2010.
Both works show convincing familiarity with the forms they depict and Spotted Stingray and
Barramundi evince a strong sense of mobility as well as alluring surface markings. Barramundi's
unexpected contrasting palette and thickly applied glaze is assured. luscious and clever. Spotted
Stingra, on the other hand, appears deceptively simple. Barely worked, apart from multiple white dots
on a raw clay surface, the singular treatment of the edge, eyes and curved tail show the absorption and
redefinition of detail required to create what up close then becomes an uncanny entity.
Joint Second Prize:
Cynthia Vogler,
Communityllanguage
group: Wak'a Wakka.
Turrbal, Yuggera; lives
and works Cairns. QLD
Waterways. 2010.
raku, h.20cm, w.23cm.
d.18cm; The Reef.
2010. raku. h.23cm.
w.20cm. d.21.Scm
Photo: Matthew Stanton
Courtesy artist

Highly Commended: Emily Ngarnal Evans, Community/Language group: lardi; lives and works Mornington Island, OLD
Spotted Stingray, 2011, buff raku earthenware with underglazes, h.2Ocm, w.70cm. d.50cm; photo: Matthew Stanton
Courtesy artist, Mornington Island Art and Alcaston Gallery
The founding patron of the Indigenous Ceramics Art Award was Thapich Dr Gloria Fletcher AO of
the Dhaynagwidh (Thayankwith) people of Weipa in Far North Queensland.' Thapich passed away in
2011 aged 74. She is the most well known Indigenous ceramicist, with the most recognisable forms
in Australia . During decades of constant work in clay and committed dedication to her Napranum
community, Thapich also managed to qu ietly inspire and encourage artists, many Indigenous, across
Australia.
Indigenous ceramic art is today valid and valued . In recent decades it has reached most communities
and is accessible to makers in cities and rural centres. It has come as a democratising medium, of no
fixed address. Transformative and malleable, clay represents a personal and cultural juncture through
which the means to make change is at hand.
This is a brief extract from the 2011 Indigenous Ceramic Art Award catalogue essay by Julie
Gough, 'Up Close and Personal - Diverse and Dedicated Indigenous Ceramicists in Australia'.
For the complete essay, please contact Shepparton Art Museum.
www.sheppartonartgallery.com.au
Finalists: Daniel Beeron, Maureen Beeron, Sally Murray, Trish Beeron, Eileen Tep, Vera Cooper,
Malpiya Davey, Emily Ngarnal Evans, Janet Fieldhouse, Deanne Gilson, Christina Gollan, Jock
Puautjimi, Mark Virgil Puautjimi, Robert Puruntatameri, Rona Panangka Rubuntja, Ellarose
Savage, Tjunkaya Tapaya, Daisybell Nungala Virgin, Cynthia Vogler, Tjimpuna Williams and
Nancy Wilson.
1 'Thapich' is a title of respect used for the da:eased. It indicates that the artist's name IS not being spoken at the time of publication, In keeping
with the tradItions 01 her community.
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 45

--------
Focus: Education
Highly VISIBLE -
winning strategies for
ceramics departments
What do you want first - the good news or the bad news? We all know the bad news: ceramics
departments across Australia are being closed down. Painful news. Sad news.
The good news is the number of ceramics departments that have survived bureaucratic slash-andburn,
not only survived but are flourishing. For a country with a population of just under 23 million
with at least 18 ceramics departments, in terms of ceramics education options, we are actually doing
pretty well. On a comparison basis - in 2010 in the UK (pop. 62.3 million), the number of ceramics
departments had been reduced from 33 to 10.
However, with funding cuts hanging like the sword of Damocles over every department there is no
room for complacency. Head teachers are now required to not only justify expenditure but also provide
reasons for their department's continued existence. Running a ceramics department these days is akin
to balancing on a ball while juggling knives - an act which requires skill, concentration and a certain
fearlessness.
Those of us in the ceramics industry all know the value of a good ceramics education, so why is
this not apparent to those persons of im portance outside the industry - the politicians, education
administrators, and the wider community? Rather than getting caught up in pointless discussions of
worth - ceramics is as good as (as worthy of decent funding as) fine art, glass, new media, competitive
swimming etc. - we need to consider the issue of visibility.
In our highly visually oriented society, one would think that any visual medium would automatically
attract funding, but we must consider that politicians, administrators and many members of the wider
community wear a different pair of glasses. They look at ceramics through the lens of quid pro quo,
which can be crudely translated as: You want support - we want results. Visible resu lts.
Last year I learned that the Ceramic Design Studio TAFE Gymea is the largest ceramics department in
Australia with 150 full and part time students and 17 full and part-time teachers. The most successful
departments ask, "To whom do we need to be visible?" and, "How do we become visible ?" and
have had the vision to develop strategies which address these questions. To investigate this, I spoke with
Marian Howell (Ceramic Design Studio, Gymea TAFE [CDS]), Janet de Boos (ANU School of Art), Kim
Martin (Holmesglen TAFE), Judith Roberts (Chisholm TAFE), John Stewart (Lismore TAFE) and Jo Crawford
and Kirsten Coelho (UniSA South Australian School of Art, Architecture and Design [SASAAD]) to get
an understanding of the strategies they had developed. The foremost target groups were educational
administrators and students.
46 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Focus: Education
Marian Howell with Advanced Diploma student
Silvia D'Aveiro, Ceramic Design Studio
Sydney Institute of TAFE, Gymea Campus
Educational administrators
All of the above departments have supportive
immediate superiors. However, the higher you
go within educational institutions and the
wider the responsibilities of the administrators,
the less visibility the ceramics department has
within the overall organisation - so how can
the department make itself visible?
Showing up
One approach is for the Head Teacher to be physically present at as many forums, teacher training
sessions, personal development courses and joint social events, and on committees, as they are willing
or able to be. Marian Howell (CDS) was on the Gymea TAFE Sustainability Committee. She and other
CDS staff members decorated ceramic mugs for all Gymea teaching staff to bring to meetings, removing
the need for plastic cups. They also installed a water tank, using water from the roof in the studio,
which garnered them a sustainability award.
The benefits are: creating awareness of the department's existence, which may not be a given;
networking and establishing relationships w ith other department headslhead teachers; informally
discussing plans and projects with superiors; and discovering new possibilities.
Letting them know
Short articles for the TAFE newsletter on any achievement or public activity help to maintain a
department's profile. Universities have different criteria. Janet de Boos (ANU School of Art) found
that she was having problems getting coverage of her department's achievements in the academic
newsletter. With the support of Professor Anthea Callen, her department has recently produced articles
on the school's research activities for reviewed journals and reports on grants received. The result:
coverage on the school has doubled.
Invitations to college heads to open/attend exhibitions/give awards and a gift of ceramics to thank
them are regular and appreciated events. Marian Howell (CDS) takes this further by providing the
college with up to 80 corporate gifts a year made by students to give to guest speakers and visiting
delegation members.
Partnerships
Departments create a broader community by forming partnerships with other organisations and
departments. For example, the ceramics department at SASAAD maintains strong relationships with the
University glass department, Adelaide Centre for the Arts TAFE (ACA), the Jam Factory, ArtsSA and the
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 20t2 47

Focus: Education
Jack Troy critiquing results at ANU winter woodfire intensive, ANU School of Art, Canberra. ACT
Helpmann Academy. Students come from ACA to SASAAD and then on to the JamFadory, with some
then returning to give talks at the University. The Helpmann Academy provides grants for students,
recent graduates and staff, for international and interstate visiting artist residencies and lectures in
conjunction with TAFE, master classes in conjunction with JamFadory, and help with industry contads.
The physical proximity of the SASAAD ceramics department, ACA and the JamFadory means that
students can do cross-campus studies and visit the JamFadory for inspiration for continuing studio
pradice. Charles Sturt University also supports cross-campus studies in partnership with TAFE.
Partnerships with regional and private galleries, in addition to institutional galleries, are a win-win for
the galleries and the departments. Joint projects expand a gallery's audience and provide a main street
window for students' and/or staffs' work, raising the public profile of both. CDS has regular exhibitions
with Hazlehurst Regional Gallery, and Lismore TAFE has graduate students exhibiting at four Regional
Galleries.
TAFE now formally documents these partnerships, including those with TACA and local ceramics
groups. Community Partnerships is currently a hot 'n'sexy buzzword for federal, state and local
governments. As a short track to visibility, it is comparatively easy for a visual arts department to set
these up.
Outreach
Outreach projects and programs create visibility for the department, both within the wider society or
local community and the educational organisation.
Outreach can vary from supporting a local ceramics group by lending them plinths, or a stall in local
street fairs/festivals, to a major project such as the ANU SoA participation in the Remote Indigenous
Ceramics Exchange Projed facilitated by Geoff Crispin with artists from Ernabella, Hermannsburg and
Tiwi/Bathurst Island, or convening forums, conferences or symposia (ANU SoA).
Other examples of outreach are offering technical advice to local schools that have ceramics classes,
or supporting charity events such as the Cancer Council's Biggest Morning Tea by creating ceramic
48 THE JOURNAL OF AUSTRALIAN CERAMICS IUlY 2012

Focus: Education
Glenn Rankin (DipAn) at a workshop in Jingdezhen,
China, involving a Zisha ware teapot demonstration
pieces for awards (CDS), or supporting
fundraising for Sydney Childrens' Hospital
(National Art School).
TAFE NSW is prepared to offer outreach
programs tailored to local needs, such
as the short course run last year at CDS
specifically for carers of a person with
disabilities.
Students
The challenge is to attract and retain
students. Word of mouth is still as
potent as ever, whether via a tweet or
a conversation and several departments
are now looking to social media such
as Facebook. Some departments have
websites that not only outline course
details but also provide details of staff, facilities and showcase student work. Visibility online is a must
as more and more people look to the internet for their information; check out TACA's online education
directory.
Navigating an education institute's website is not always straightforward. When you enter 'ceramics'
as the search term, you may well be directed to irrelevant or archive pages. Easily accessible, informative
and inviting web pages are always going to attract greater student interest.
Rebranding can be useful to change perceptions. Marian Howell chose the name 'Ceramics Design
Studio' to give students a sense of intimacy and ownership and to create a more contemporary feel for
the department.
Outreach
Outreach events as above, giving talks at schools, well publicised open days for the public and
exhibitions are all important in creating visibility in the local community. Exhibitions where students at all
levels sell their work at moderate prices can become an event that local residents look forward to (CDS).
The only cost is a few flyers, but awareness of the department and the goodwill generated is invaluable.
Kim Martin (Holmesglen) promoted their ceramics courses by showcasing students' work at the Atrium,
Federation Square in Melbourne's CBO.
Flexibility
The majority of students these days are mature age students. Because of work, family commitments
and income, they prefer courses that can be undertaken part-time or fulltime. Fortunately, as course
completion is a high priority within TAFE, mature age students are predominantly very committed and
will complete lengthy courses. Ceramics departments have responded to the needs of a wide student
base by developing multiple options in course delivery, from evening classes for certificate courses to
specialist modules for advanced students and master classes for those who have graduated but wish to
widen their skills base.
When ceramics is part of a broader visual arts course, a flexible approach can work well in attracting
students. At SASAAO, Kirsten Coelho runs a one-day-a-week foundations course for students unfamiliar
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 49

Focus: Education
Scott Woodhouse, 3D animation
sculpture made during Certificate IV
in Visual Arts and Contemporary Craft
at Holmesglen TAFE, Chadstone. VIC
w ith clay. Half-day studio courses are also
available. For advanced students, they offer
negotiated studies - students can propose
a specific area they want to investigate and
negotiate with the studio head and a teacher
willing to take this on, for a half or full day.
Keeping it fresh
An open mind and willingness to take on new
directions makes for a lively department. Kim
Martin (Holmesglen TAFE) recently invited a film
animator to teach her students 3D animation
sculpting. Guest artists, artists in residence, and
part time teachers teaching a specialised area
- in addition to skilled, experienced staff - further contribute to maintaining student engagement and
encourage ongoing study. Visibility can be raised by offering specialised areas such as firing options. For
example, in addition to the usual kilns, Lismore TAFE has four woodfire kilns and facilities for raku and
pitfiring.
Over the water
In Europe, the response to the challenges that ceramics education faces is to move into
interdisciplinarity, cooperation and collaboration with departments of Fine Arts (especially sculpture
and installation), Architecture, Design, Science and New Media. This gives ceramics a high degree of
visibility as a discipline. At the National Academy of the Arts in Oslo, the ceramics department specialises
in large-scale ceramics in the three areas of architecture, sculpture and public art. Ceramics students
at MAD-Faculty Hasselt (Belgium) work together with the sculpture and design departments and
professional artists. Students from the Design Academy Eindhoven can do a six-week ceramics intensive
at sundaymorning@ekwc. At the Fine Art department at Newcastle University UK, there is research in
clay sculpture, particularly in mixed media, and collaborative research with other UK institutions and
institutions in South Korea, India, and the Netherlands.
Placing ceramics within the area of arts, and according it parity with other arts disciplines, has real
benefits for the continuance of ceramics education and practice. However, skills acquisition can become
an issue, with some departments choosing to outsource or work with found objectslreadymades rather
than training students themselves.
Another approach to creating visibility for ceramics education is a three-year national clay program
initiated in the UK by the Crafts Council. The goal of 'Firing Up' is "to 'refire' kilns in schools and inspire
learners ... with regional 'clusters' of a ceramics 'ambassador', a techn ician and up to ten students, and
five secondary schools".
SO THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Focus : Ed ucation
Hirotsune Tashima conducting a portraiture class at a summer intensive at ANU, with ANU students plus an exchange group
from Hongik University. Seoul, Korea
In conclusion
Ceramics departments will continue to face challenges. There is a shift in Australian educational
institutes towards online delivery and ongoing cutbacks, along with a government move to industry
determining demand for courses.
Keeping a ceramics department viable requires a high degree of visibility to educational administrators
and students. This is being achieved in those Australian ceramics departments with an open mind, a
flexibility of approach and the use of imagination, fuelled by dedication and passion.
My gratitude to all of the above heads of department and teachers who were so willing to share their
stories, experience and knowledge.
References:
Interviews with Marian Howell (Ceramics Design Studio, Gymea TAFE), Janet DeBoos (ANU
School of Art), Kim Martin (Holmesglen TAFE, Chadstone), Judith Roberts (Chisholm TAFE,
Dandenong), John Stewart (Lismore TAFE) and Jo Crawford and Kirsten Coelho (UniSA South
Australian School of Art, Architecture and Design)
The webpages of the above institutions
Firing Up: www,craftscouncil.org.ukllearn/programmes/ firing-up
Report of the symposium on the future of ceramics education, 's-Hertogenbosch, Netherlands,
4-5 November 2011
@ Karen Weiss 2012
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 51

Promotion
Hybrid Practice: A (brave?)
and exciting new craft world
Article by Sally Cleary, Senior Lecturer Object Based Practice, RMIT University
Hybridity has become the buzzword in craft circles since the beginning
of the 21 st century. As other artists such as painters, drawers and
printmakers continue to investigate 'new' areas of art practice such as
ceramics, textiles, and metal work, the borders between the arts and
crafts are becoming blurred around the edges. Today, ceramicists and
other craft practitioners are questioning their identity in order to keep
step with contemporary art and craft practice, and face the dilemma of
whether to stay true to traditional values or embrace the new wave of
cross media practice.
In 2012, The School of Art within RMIT University, Melbourne, has taken its first big step in combining
course areas to actively encourage hybridity. Object Based Practice is one of the new course areas,
combining the traditional courses of ceramics with gold and silversmithing so that students can move
freely between the two (and other courses if they choose to), exploring new processes and concepts.
Some might say that this 'brave new world' threatens the traditional values and skill level within these
highly technical courses; however, in addressing these concerns, students are still offered the choice
to specialise in just one or both areas. These new courses are about changing perception, the cross
pollination of ideas and practice - it is only at this point that new forms of art can emerge.
What does it mean to be a hybrid artisVcraft person/ceramicist in the 21 st century, and how can the
concepts which surround hybridity, such as mixed and cross media be applied successfully to ceramic
art practice? What have we got to gain from being hybrid artists, and what do have to lose if we do
or don't embrace it? These are just some of the questions that were raised at last years RMIT University
Annual Object Based Practice Seminar Series, Practice as a Site for Enquiry II, which addressed the theme
'hybridity'.
New Zealand art historian and curator Damian Skinner entered the debate by suggesting that the
current state of craft practice is entering its third wave: the first being the Arts and Crafts movement, in
which the hand made was formulated as an antidote to the Industrial revolution; the second being the
studio craft movement, in which craft became a vehicle for originality and artistic expression through
one-off or limited-production objects; and now the third wave, as a direct challenge to the artistic
aspirations of second wave craft.
Skinner warns of the popularity of DIY trends, which th reaten to upend craft hierarchies by
downgrading high end craft skills such as metalworking, ceramics and glass. He concludes that "unlike
third wave craft, which ventures out into the world engaging with its contemporary condition, second
Opposite page: Robyn Hosking, MA student, Capital City Carnival Series: The Wing Walker. 2011, slipcast porcelain,
fine silver. turntable. decals, glaze, lustre. mixed media, h.52c. w.42cm; photo: Jeremy Dillon. This page: detail of image
S2 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Jia Jia Chen, Year 3 graduate, Porcelain Blanket, installation detail, 2011, marbled slipcast porcelain, cotton cord
Photo: Andrew Noble
wave craft is insular and more focused on preservation than adaptation to the contemporary moment in
which it finds itself."
If this is the case, then we need to address the subject of hybridity within the contemporary craft
world and look at ways of joining the wider art communities instead of alienating ourselves.
Breaking down the barriers has already created a new sense of freedom within the art school, with
new courses such as Forming - a course which asks students to explore form through various processes
such as plastic forming, slab forming and metal forming. Through this investigation, second year
students are able to take concepts to another level, by trying new processes and combining them if
they choose. New technologies, such as rapid prototyping and digital transfers crossed with metal and
ceramics, also provide endless scope for development, particularly in the areas of design and production.
In 2010 and 2011, RMIT students from Ceramics and Gold and Silversmithing won 50% of the Craft
Victoria Fresh! Graduating student awards. These students are selected from every tertiary art and
design school in Victoria and are testament to the high quality of graduate work and innovation within
these course areas. Within Ceramics, seven out of ten students explored concepts of hybridity either in
the form of installation art or cross media practice in their final year. This is an exciting hybrid new world,
and it has only just begun.
, ~ " l
) ~ - .
'
. '.,.:: .;'~
.'
.
~ ... ,
., ..
- -
left: Allona Goren, BA Year 3 graduale. Gold & Silversmithing
Untitled #5, 2011, plastic forming, wooden beads, fine silver
Photo: Jeremy Dillon
Above: Erica Tursan O'Espaignet, Year 3 graduate, Stiff Life
installation, 2011, sljpcast porcelain, sphagnum moss, wheat
grass, stopgap video projection, wooden chair, photographs
Photo: Sally Cleary
S4 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

ACAREER
IN OBJECT
BASED
ARTAND
DESIGN
Object Based Practice is a specialised
stream in gold and silversmithing and
ceramics within RMIT's range of fine
art programs at degree and
postgraduate level.
Object Based Practice continues to push
creative boundaries and RMIT's students
are regularly recognised for their work
through national and international awards,
publications and exhibitions.
Discover more about this intricate field on
3 August at RMIT's annual seminar:
Practice as a site for enquiry.
> For further information about the
program or the seminar, contact
mark.edgoose@rmit.edu.au
www.rmit.edu.au/art

National Education
Pictorial Survey 2012
Note: Due to a lack of space.
full captioning of images is not
possible. Please contad the
editor if you would like more
information on any image
featured in this survey.
2
3
Australian National University
School of Art, ACT
http://soa.anu.edu.au
1 Anne Masters
2 Ashley Baumann
3 Michelle Lim
4 Linda Davy
5 Amy Hick
56 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2 012

Focus: Education
Brisbane No 1h Institute of TAFE. Ithaca Campus. QLD
www.bn.tafe.qld.gov.au
1 Penelope Buntine
2 Jennifer Eales
3 Carmel Lumley
Central Institute of Technology. Perth. WA
www.central.wa.edu.au
1 Kathy Allam
2 Sigrid Ranze
3 Pam Langdon
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 57

Focus: Ed ucation
Chisholm Institute of TAFE, Dandenong, VIC
www.chisholm.edu.au
1 Sui Lin Chan
2 Ingrid Choo
3 Lisa Scheuerlein
1 Caroline Pie Bolton
2 Bernadette Wood
3 Lyndon Sendeckyj
Holmesglen Institute of TAFE, Chad stone, VIC
www.holmesglen.edu.au
Hunter Institute of TAFE, Newcastle Art School, NSW
www.hunter.tafensw.edu.au
1 Denell Honey
2 Sandra Flynn
58 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Focus: Education
IIlawarra Institute of TAFE, Goulburn, NSW
www.illawarra.tafensw.edu.au
1 Antonia Throsby
IIlawarra Institute of TAFE, Moss Vale, NSW
www.illawarra.tafensw.edu.au
3
1 Carolyn Burridge
2 Pauline Birnie
3 Denise Rankin
4 Irene Ross
5 Sandy Purves
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 59

Focus: Education
-------
La Trobe University, VIC
www.latrobe.edu.au
1 Maree Santilla
2 Murray Ross
3 Michelle Jackson
National Art School, NSW
www.nas.edu.au
1 Alexandra Standen
2 Melanie Jayne Hearn
3 Mary-Anne Nidelkos
4 Alana Wilson
60 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Focus: Education
North Coast Institute of TAFE. Lismore. NSW
httpJlnorthcoast.tafensw.edu.au
1 Peter Salkeld
2 Jenny Moore
3 Julia Stewart
4 Deb Loadsman
North Sydney Institute of TAFE. Hornsby. NSW
www.nsi.tafensw.edu.au
1 Kimmie Kitamura
2 Helen Shin
3 Ingrid Tristram
4 Kim-Anh Nguyen
3 4
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 61

Focus: Ed ucation
----- --
North Sydney Institute of TAFE, Northern Beaches, NSW
www.nsi.tafensw.edu.au
1 Johanna Hildebrandt
2 Elizabeth Cashmore
3 Christopher Graham-White
4 Christine MacKinnon
5 Joey Burns
6 Dianne Oliver
7 Gorgi Armen
62 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Focus: Education
RMIT University, VIC
www.rmit.edu.au
1 Kerry Peterson
2 Tonia Kwok
3 Erica Tursan D'Espaignet
4 Callum Donald
5 Anna Rowbury
6 Esther Konings
THE IOURNAL OF AUSTRALIAN CERAMICS JULY 2012 63

Focus: Education
Southern Cross University. NSW
www.scu.edu.au
1 Louise Gregg
2 Marianne Galuzzo
3 Rebecca Simpson
4 Miriam Salomon
. .. ... ..
· . ...... ..
... .. .. .. .. .
• t • • • •
I ' . . ,
.. ' ......... ..
• • ' ...... .. i
.... .. .. .. .."' .''
. ~
'
'.... ........ .. ..
· ... .. .. .. .. .. ,
i..:,:. : :.i.;'
· .. .. ... .. .
! ," .. " .. .. .......... '.
TAFE SA. Mount Barker
www.tafesa.edu.au 1 Tommy Rosser 2 Faye Gommers 3 Briony Bird
TAFE SA. Adelaide College of the Arts
www.tafesa.edu.au/adelaide-college-of-the-arts
1 Sandra Sharma
64 THE JOURNAL OF AUSTRALIAN CERAMICS IULY 2012

Focus: Education
2
4
6
Sydney Institute of TAFE
Gymea, NSW
www.sit.nsw.edu.au/gymea
1 Mei Ling Wong
2 Katherine Kapetanellis
3 Nicky Parras
4 Steven Gallop
5 Rodney Grossel
6 Silvia D' Aviero
7 Ursula Burgoyne
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012
6s

Focus: Education
Tasmanian Polytechnic
www.polytechnic.tas.edu.au
1 Linda Burns
2 Maree Taylor
University of NSW, College of Fine Arts
www.cofa .unsw.edu.au
1 Hayden Youlley
2 Santina Ingue
3 Jon Mullens
4 Thomas Mason
5 Alice Couttoupes
66 THE JOURNAL OF AUSTRALIAN CERAMICS IUlY 2012

Focus: Education
UniversIty -, B I "a
BVA VIC
www.ballarat.edu.au
1 Della Rae (GogolI)
2 Rachael Negri
3 Kristeena Saville
4 Matthew Briscoe
5 Lisa Trip
University of Ballarat
Arts Academy. VIC
www.ballaral.edu.au
1 Peter Austin
2 Janella Kerr-Grant
2
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 67

Focus : Education
University of SA, South Australia School of Art
Architecture and Design
www.unisa.edu.au
1 Nina Frigault
2 Alison Smiles
3 Briony Milverton
3
1 Susan Brown
2 Janette O'Hanlon
3 Suzie Olsen
University of Southern Queensland
www.usq.edu .au
Western Sydney Institute
Nepean College, NSW
http://Wsi.tafensw.edu .au
1 Alison Shore
2 Deb King
2
68 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Focus: Education
Western Institute of TAFE. Mudgee. NSW
www.wit.tafensw.edu .au
2
1 Belie Brooks
2 Christy Robertson
3 Brett Niven
University of Sydney, Sydney College of the Arts. NSW
http://sydney.edu.au/sca
1 Kristi Pupo
2 Susan Chen
3 Debbie Nguyen
4 Penny Philpott
5 Kazuko Chalker
6 Canbora Bayraktar
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 69

View
Head Land
Rowley Drysdale discusses Stephen Roberts' latest work
Historical narratives waver depending on who is telling the StOlY and how they are recorded .
W inston Churchill allegedly said "history is written by the victors" , and Napoleon Bonaparte stated
that "history is a set of lies agreed upon" . Both lived in cultures that had a particular, including written,
method of recording history.
Stories which only survive in an oral tradition, and have been transmitted across generations, are likely
to undergo interpretational change and plausibly will have been reorganised to facilitate theme, if not
morality.
The same stories can also be reinterpreted in a purely visual medium, as in the case of Stephen
Roberts' wonderfully cohesive exhibition, Headlands of the Sunshine Coast at the Cooroy Butter
Factory on the Sunshine Coast, in March 2012.
This multi-dimensional exhibition included all three forms of storytelling and was richer for it. Its focus
was on nine or so headlands found on the local coastline from Noosa River to Pumicestone Passage. Th is
region has a colourful Indigenous and European history and Roberts selected these geographical features
as portals for historical, contemporary, oral, written and visual interpretation.
He carefully scrutinised all aspects of the headlands, which he views from both land and sea (from
his surfboard). The story is in the detail, and if he can conjure an alternate perspective while catching a
wave, well, that's a bonus.
In issue 4911 of The Journal of Australian Ceramics, Roberts published a poem about woodfiring.
It is essentially a well crafted list of all the things he needs to bring to a firing, from, let's say, a box of
matches, to a tonne of sidestoke timber, to board wax. It's a revealing poem, not the least because you
can eaSily tell the author is comfortable with the subject matter. Each tiny detail supports the one before
and the one after. His latest work in the Headlands exhibition is not dissimilar.
Roberts has been woodfiring for more than twenty years while busily working from his Palmwoods
Studio on the Sunshine Coast. He is also a popular teacher at the Brisbane Institute of Art.
On opening night, Aboriginal elder of the local Gabi Gabi tribe Bev Hand told a story which related to
Roberts' installation, Pamphlet, Finnegan and Parsons.
The story, told to her by her mother, concerned the first Europeans to have reached the Sunshine
Coast. They were castaways who had been sailing south from Sydney to the Illawarra district to take
on cedar, when a storm blew them off course. John Thompson perished at sea but eventually, in
Opposite page:
Stephen Roberts, Sea Devils, woOOfired stoneware and timber, h.3Ocm; photo: art ist
Stephen Roberts, House on Potts Point (Alexa ndra Headlands), stoneware, h.3Ocm; photo: artist
70 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

View
Beverly Hand telling the story of Pamphlet, Finnegan and Parsons; photo: Marion Jonkers
April 1823, the other three sighted land, went ashore and proceeded north, thinking the wind had
carried them south. They had in fact landed on Moreton Island, near Brisbane, a thousand kilometres
north of Sydney. Regardless of their mis-direction they were befriended and assisted by the local
Aborigines. Pamphlet turned back at Maroochydore, Finnegan at Noosa and Parsons made it to Hervey
Bay. Ultimately they were rescued. It is not hard to imagine the lost three reaching each subsequent
headland, then gazing north expectantly, hoping to see Sydney.
These are the facts, but Hand's telling of the same story enhanced this narrative w ith much more
emotionally loaded detail, and in so doing her retelling was more aligned with Roberts' handling of the
subject matter.
Roberts' choice of restrained colouring in Pamphlet, Finnegan and Parsons is achieved with thin
layers of Shino and ash glaze, a combination which emphasised the textual character of the place, and
appropriately underscored its very ambience and that of the associated story.
Right from his student days, Roberts has experimented with ash glazes. Again one gets the feeling he
is seeking out detail - tree types, degrees of temperature, small percentage alterations in formula - and
that's the way many of the Headlands installations present.
The viewer needs to take time to see, not merely look. Coupled with well edited texts, each one
emanates a connectedness with the core themes of place, historical narrative and well-organised ceramic
methodology. They also tell you a lot about Stephen Roberts. It is possible to remove small components
of each installation and enjoy them - the surfboard-fin-shaped waves, for example, the occasional
ute, or the brooding headland shapes. Roberts has been making these types of forms individually for
a number of years and, in retrospect, it seemed only a matter of time before they came together in a
cohesive body of work like Headlands. What tied them together so neatly were the texts.
72 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Stephen Roberts. Romantic Scene, detail, stoneware, h.30cm; photo: artist
As a local you want to thank Stephen for bringing the stories with him. It will enrich the experience
when you next stand on, or fish from, or surf in front of one of those headlands.
The Cooroy Butter Factory team should be congratulated for its curatorship. Alongside Stephen
Roberts' work were gritty photographs of Cape York by Aboriginal photographer Paul Fry. This was art
made by artists with dirt on their hands, or their lens, in the case of Fry. That dirt might not have turned
to pay dirt in the conventional dollars and cents sense, but it did immeasurable good for the artists'
reputations.
Rowley Drysdale is a potter, a TAFE teacher and occasional writer.
Endnote: When unloading a kiln last year Stephen Roberts extracted from a fire channel a beautiful
'coral' encrusted ute. It was a larger form and, having sat under coals for many hours, it was born
old, healthy and evocatively beautiful. Unfortunately, a few minutes later it was broken in an accident
outside the kiln. When he emerged from the kiln to inspect the artwork he found it in broken pieces. A
number of people were upset by the incident.
Stephen is well known for his economic use of words. "Must have had a crash" was all he said .
Headlands of the Sunshine Coast: Stephen Roberts was held at the Butter Factory Arts Centre
in Cooroy, QlD, in March 2012; www.stephenrobertsceramics.com.au
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 73

--------~ - ---~-
Ceramics +
Harmonies and Dissonances
Roy Ananda examines recent work by Wendy Fairclough and Honor Freeman
Within its deceptively simple framework, the humble still life has, over the last few hundred years,
served to articulate an extraordinary range of ideas and experiences. From the fevered imagination
of Giuseppe Arcimboldo and the morbid allegories of the Dutch Masters to the formal invention of
George Braque and Ben Nicholson, the scope of the genre has proved to be enormous and continues
to be expanded by countless contemporary artists. in their upcoming exhibition Echo at Sydney's Sabbia
Gallery, Wendy Fairclough and Honor Freeman contribute to this continuum in their respective languages
of glass and ceramics.
While consisting of two discreet bodies of work, the exh ibition has grown out of a collaborative
process of critique and conceptual development, bolstered by over ten years of friendship and collegiate
practice on the part of the artists. Since meeting as students at the South Australia School of Art in the
late nineties, Freeman and Fairclough have cultivated a shared aesthetic of elegant understatement and
an acute sensitivity to the poetic possibilities of domestic objects in space. While a joint exhibition by
these two artists seems like an entirely logical move, it is also a bold one. As an artist, coming across
another practitioner whose work mirrors one's own can be bittersweet. On one hand, the experience
can be validating, but on the other, the originality of one's own vision can seem undermined. However,
rather than suggesting homogeneity, viewing the two artists' work together highlights important points
of difference in their approaches and concerns .
While broad descriptors such as 'personal' and 'political' are potentially reductive, they go some
way to pointing to the distinct emphases of Freeman 's and Fairclough's work. it is not uncommon for
Fairclough's installations and still life tableaux to derive from such weighty matters as the impact of
drought and wars fought over oil. Themes of industry and agriculture resonate through the new work
presented in Echo and increasingly her practice focuses on the common, shared experiences and needs
of human beings across cultures. Conversely, Freeman's work is invariably tied to more intimate and
singular engagements w ith the world around her: marking the passage of time, commemorating daily
domestic ritual, and even indulging in the odd visual pun.
These divergent yet complementary concerns with universal and individual experience are subtly
reflected in the works' materiality and physical presence in space. While both artists undertake to
wrench the still life from the traditional, two-dimensional pictorial space of painting, the translations into
three dimensions via glass and ceramics operate very differently. Translucent and ghost-like, Fairclough's
glass brooms, buckets, pots and pans read as half-remembered dream objects that exist as much in the
mind's eye as in a tangible reality. More concerned with a generic idea of 'bucket' (or any other given
object) than the specific physical fact, the artist prioritises the object's broader metaphorical potential.
Freeman's porous and opaque surfaces on the other hand, register a far more palpable presence. Trading
in illusion and frequently employing a kind of three-dimensional trompe l'oeil, her slipcast ceramic forms
seem more immediate in their evocation of day-to-day experience. Be they worn and weathered bars of
soap, lemon juicers or stained coffee cups, Freeman 's Objects bear apparent traces of activity and use,
whilst of course being entirely without function. in this way, they seem to exist in a shared space with
us, not solely belonging to the rarefied gallery environment. indeed, Freeman's objects have been known
to make the occasional incursion into the 'real' world, in the form of slipcast power points affixed to
public walls in Adelaide's west end or ceramic bread tags deposited in the coin return slots of public
74 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Top: Wendy Fairclough, Order, 2012, cast lead crystal, h.22cm, w.30cm, d.21cm; photo: Craig Arnold
Above: Wendy Fairclough, Clothe, 2012, cast lead crystal, h.21cm, w.24cm, d.22cm; photo: Craig Arnold
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012
7S

Ceramics +
Honor Freeman, When Life Hands You Lemons, 2012, slipcast and handbuilt porcelain, h.8.5cm, w.58cm, d.37cm
Photo: Craig Arnold
Opposite page: Honor Freeman, Wrong End Of The Stick, detail, 2012, slipcast and handbuilt porcelain, h.3.5cm, w.52cm,
d.38cm; photo: Craig Arnold
phones. Like so many of her works, these curious moments of benign, three-dimensional graffiti elicit a
double-take from anyone who encounters them.
In producing works for Echo, Fairclough and Freeman have continued to pursue long-standing
themes but have importantly allowed themselves the scope for experimentation and the testing of new
possibilities. In the case of Fairclough's work, this is evident through the expanded repertoire of objects
that populate her still life arrangements. joining the ranks of her more familiar motifs are increasingly
obscure objects such as the kumara (sweet potato), industrial cotton spools, and a range of simple
mechanical objects - clamps, hand drills, callipers and the like. The exhibition also encompasses the
artist's first explorations into the light-filtering potentials of dichroic glass as well as an increasingly
thorough investigation into the glass-casting process. Freeman also brings new strategies to bear
on her practice, most notably in a new body of work derived from familiar expressions and idioms.
Extrapolating on a range of well-known sayings until an appropriate ceramic analogue can be arrived at,
the artist celebrates the stubborn optimism of finding silver-linings in clouds and remaining philosophical
about life giving you lemons. Freeman's penchant for wordplay might prompt a closer examination
of the title under which she and Fairclough bring their work together. In its most immediate reading,
Echo would seem to refer to the close kinship and on-going dialogue between the artists' work: a farreaching
chorus of call-and-response bouncing between Freeman 's suburban studio and Fairclough's
workspace nestled in the Adelaide Hills. Importantly though, an echo is a reflection, not merely a copy,
subject to change, transformation and slippage. The acoustic phenomenon of an echo also encompasses
notions of cause and effect that are central to both artists' work. However, unlike an acoustic echo,
which invariably fades with time, the work of Honor Freeman and Wendy Fairclough seems to only gain
in its clarity and resonance.
Roy Ananda is a South Australian artist and writer.
Wendy Fairclough and Honor Freeman are represented by Sabbia Gallery, Sydney.
Echo: 25 July - 18 August 2012; Sabbia Gallery, 120 Glenmore Rd, Paddington NSW 2012
T: 61 29361 6448; www.sabbiagallery.com
This project has been assisted by the Australian Government, through the Australia Council
for the Arts, its arts funding and advisory body, and ArtsSA.
76 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Up the Yoga Path
Linley Boyle (left) and Karl demonstrating the Thrower's Twist
Yoga in the Pottery Studio
by Kari with Linley Boyle
My yoga teacher is my pottery student. I have a professional pottery studio; she has a professional
creative dance and yoga practice. We need each other!
Many years ago, I discovered the joys of yoga; how a tired, achy body could be gently stretched and
flexed out of pain and discomfort. I discovered muscles, and the ability to move in new ways. Twenty
years later I realise my pottery practice has benefited greatly from my yoga experience. However, the
day did arrive when telltale pains and aches began. I reassessed how I was using my body and muscle
groups in the pottery and realised it needed some readdressing.
Into the picture stepped yoga teacher Linley Boyle. Whilst in the studio, we discussed how to apply
yoga to potters. Getting out the yoga ma t seemed inappropriate in the dusty studio, so Linley revised
some postures for the pottery workshop. What emerged was a series of exercises that act as antidotes
to the potter's habitual posture. Used before or after different jobs, they counter-stretch the body. My
throwing is better as a result! One posture may even feel like a prayer to the wheel, and perhaps this is
what is needed sometimes!
JOIN US IN YOGA
Photocopy the double page of postures (pages 80 and 81) and cut into single numbered exercises. Pin
them up around the studio - above your wheel, over the wedging bench, in front of the kiln. Intersperse
each of your pottery tasks with a few yoga postures. Mindful pottery practice may mean a longer
potter's life in the pottery, without pain.
Kari - potter and marriage celebrant; karicelebrations.com
Linley Boyle - Bodysong Creative Dance & Yoga
7B THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Up th e Yoga Path
In general, when doing yoga AND when potting:
Be grounded, feet firmly planted with body weight evenly spread left, right, forwards, and backwards.
Bend from the hips, not the waist, with a tall straight back
Keep elbows in, and shoulders comfortably back, not slumped forward
Have your chin tucked in, not jutting out
Open the chest. Expand the lungs. Keep breath moving.
Squeeze armpit muscles before using arms.
Yoga postures and exercises (see drawings pages 80 + 81):
1. Head and Neck Semi Circles: Loosens the neck muscles ready for a day's work in the pottery
Look ahead. Turn head gently to one side, all the way, then slowly turn to the other side. Repeat slowly,
several times.
Drop head to one side. Slowly rotate down and round to the other side. Repeat slowly several times.
2. Opening up the Chest: Loosens the shoulder muscles before wedging
Clasp hands behind. Tummy in, open the chest, shoulders down.
Then, clasp hands in front pointing index fingers down. Draw shoulders down and away from ears.
3. Loosening the Shoulders: Takes out the tension of wedging, lifting or carrying
Arms behind. One up and over your shoulder, one down and around. Hold a strap or rag or, if you can,
your own fingers. Repeat with other arm, up and over.
4. Potters Bends: Safe bending ... for everything!
The most important thing with all forward bending is to first bend the knees.
Engage core muscles. Stand straight, legs hip-width apart, toes pointed out.
Place backs of hands over lower back. Bend knees! Slowly bend forward from the hips, not the waist,
with a long spine. Keep knees over feet. Hold this posture. Then gently soften forward and hang with
arms and head down. Sway gently, alternately bending one knee then other. Straighten by reversing
through this process.
5. Thrower's Twist: Counter-stretches the spine after throwing
Sit tall on your wheel stool. Left hand holds stool, right hand holds left thigh. Twist gently and firmly to
the left, then hold. Repeat on the other side. Repeat exercise periodically during throwing sessions.
6. Going up the wall: Stretches back and shoulders during breaks
Stand tall facing a wall, door or tall shelving, feet hip-width apart.
Place hands, forehead and chest against wall.
Step back and slide down a little, knees softly bent, for an upper back stretch.
Step back again, long flat back, knees softly bent, for a hamstrings and shoulder stretch.
7. Knees Up: Counter-stretches the hips - pottery uses a lot of external rotation of the hip
Sit tall on throwing stool. Place one foot outside other thigh. Gently pull knee towards opposite armpit.
Repeat on other side.
And finally ...
8. The Throwing Prayer: Counter-stretches the upper torso after throwing, glazing or wedging
Place a towel on the floor behind your wheel. Kneel on towel, place elbows on wheel (with another
towel for padding), prayer hands above head. Flat back, open across chest. Lengthen into the posture
and feel a lovely stretch across shoulders. Pray for good pots.
THE JOURNAL Of AUSTRALIAN CERAMICS JULY 2012 79

3. Loosening the Shoulders 4. Potters Bends

5. Thrower's Twist
L
I
7. Knees Up 8. The Throwing Prayer

Ceramic Shots
sub-VASE-ive Photographic Competition
Conditions of Entry: Entries could be based on a vase you had made, a vase made by another person
or even a photo of a vase. The critical aspect of the image is its subversiveness. This may arise from the
making of the vase itself or its use, or it could be that the coaspect of the image is its subversiveness.
This may arise from the making of the vase itself, its use, or the context in which the photographer
places it. Entries are now closed. Look out for our details of our next photographic competition.
1 Photographer: Gil Burgoyne
Marrickville, Sydney NSW
Ursula Burgoyne, Stick-ern-up
Vase
2 May 2012
2 Photographer:
Christine Gr€'9ory
Shoal Bay Beach,
Port Stephens NSW
Martin Gregory
4 May 2012
Christine Gregory tells the story:
Martin made the vase, and
raku-fjred it, We took the vase
to the beach yesterday evening
to photograph it and a large
unexpected wave washed it
out. Martin dived in to search,
the vase surfaced once then
vanished. and he couldn't find
it in the dark. Early this morning
we went to look for it and by a
miracle, Martin found it lying on
the sandy bottom three metres
down and rescued it.
As he appeared I had my
camera ready.
3 Photographer:
Annette Messenger
Nelson Bay, NSW
8 April 2012
4 Photographer:
Esa Jaske
Editor's note: Due to the low
number of entries, no winner
was awarded (was the theme
a bit too subversive?).
All participants will receive a
lAC 50th anniversary teatowel.
82 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Helen Fu ller in her JamFactory stu dio, 201 2; photo: Brad Bonar
Impulse and Intuition
Helen Fuller on her studio practice
I am currently a tenant in the JamFactory Ceramics Studio in Adelaide. I have been a practising visual
artist, exhibiting my work since emerging as a painter in 1979 from the South Australian School of Art.
My career has been erratic, free falling across many art disciplines - painting, photography, installation
and assemblage etc. Exhausted in 2009/10, I joined a suburban pottery class where I was instructed to
make pinch pots and roll my first coils of clay. This is now the basis of my current studio practice.
I prefer to bu ild my forms with South Australian Bennett's filtered terracotta clay. I feel at home with
this clay, loving its humble earth qualities of colour, plasticity and feeling. It is sensual and obeying; it can
be rolled and squeezed into forms, somewhat like knitting. Under tension it can be rolled tight or loose,
add ing slack or reducing back. It leaves the maker'S rhythmic 'footprints' within the vessel's coiled walls.
Forms can be pulled and tailored, shaped and cut with scissors. I find clay therapeutic and responsive to
work with.
I have sketchbooks on the floor next to my bed where I scribble away, thinking about pot forms as
still life objects. I recall vessels from elegant museum collections, from the antiquities to rudimentary
anthropological artifacts ... essays in material culture and plant fossils. I collect found objects from my
dog walks and scrounge around in op shops for relics as I have an interest in archeological shards, which
weave and inform, at a subliminal level, my studio practice.
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 83

A shelf in Helen's studio: photo: Brad Bonar
In the studio I may think to make one of those drawings from my journal manifest into an object, but
in the casting of the ball of clay, the form intuitively evolves when the hand meets the clay and goes on
its own journey.
The BAG 2011 series evolved from being tired of cOiling in circles and a paper bag pinned to my wall
offset to coil in rectangles. The folds were an attempt to stop the walls of the form from collapsing
in. Gravity makes interventions with the soft clay and, to rectify the drama of 'a falling soldier', I have
to meet the challenge of working with the clay. I use a hairdryer to stiffen the clay or a series of torn
rag trusses and extraneous props to support the form if I need to. Sometimes it is a matter of laughing
and farewelling the ego by simply slapping the clay into a new beginning .. . or going slower next time.
Impulse and intuition is the way I work.
I see my forms as 3D blank surfaces on which I choose to paint with underglaze, oxides and porcelain
slip, applying imprinted patterns of found leaves and objects or making textured surfaces of indentations
using a paintbrush, pencil or a shaped bamboo stick. I choose not to glaze the pots as I prefer the dull
matte surface, which speaks to me about the painted still life form as object rather than the utilitarian
vessel. But, it is something that causes angst - being a vessel yet not being waterproof. This is something
I may think more about.
I am more concerned at challenging the clay as a material to build with and to creatively explore
new forms rather than be bound up with technical perfection. I enjoy the process rather than having a
considered outcome of product. At this point I am on my own journey and am keen to learn more about
the clay as I proceed. As John Cage said, "Out of the work comes the work."
Helen Fuller is represented by Place Gallery, Richmond. Victoria; www.placegallery.com.au
84 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Helen Fuller, Urn-shaped Vessel with Impressed
Leaves, 2011, terracotta coiled pot, underglaze
Photo: David Zhu
Helen Fuller, Bark Cloth Series, 2011. white raku, coiled
pots, applied underglaze and oxides; photo: David Zhu
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 85

Studio
Helen Fuller, Pantry, 2011, terracotta coiled pots, applied underglaze and oxides; photo: David Zhu
86 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Prue Venables speaks about
Helen Fuller and her work at the
opening of Fuller's exhibition, Pots,
in November 2010 at Pembroke
School, Adelaide, South Australia.
A great admirer of Helen Fuller's
paintings, I have so enjoyed viewing
these and also reading various
accounts of her references to patterns
of domestic life.
Helen's memories of cotton fabrics,
encountered in the dirndl skirt sewing
projects of early childhood and her
Helen Fuller, Pair of Bag Pots. 2011. terracotta coiled pots with incised
pattern, oxide and porcelain slip. tallest h.23cm; photo: David Zhu
paternal grandmother Lily's gingham crossed stitched aprons with their links to her formative 1950's
childhood education, excited me. I too met such things in my early days.
I find these paintings both wonderfully evocative and familiar, while also admiring their colours,
explorations and wanderings into inviting new territories - like steps away from the more regimented
prints and patterns of fifties cloth into places of layering, of peeping between, slipping, random marking,
staining and the arousal of imagination and wonder.
It was with great excitement that I heard a whisper that Helen was beginning to make pottery. I
wondered what she would make and how she would tackle that slippery and often difficult transference
between two dimensional and three dimensional thinking.
This transmission is never an easy task and Helen has quickly developed great skill, confidence and her
own unique approach to this wonderful material, clay.
A brief visit to Helen's home studio revealed to me the richness of her visual experiences and some
of the sources of the freedom with which she explores this new medium. Her move to work in the
Ceramics Studio at JamFactory has enabled me to see even more of this.
I have been fascinated to see her use of drawings, colour swatches, even leaves and bones propped
nonchalantly into small knobs of clay, then transformed magically into prototype shapes as models for
new clay forms. Sometimes tools have taken on playful new responsibilities as end points or edges have
been cut or a simple hanging stalk is deftly chopped with scissors.
Helen described to me once her fascination with the way that when you squeeze clay "it goes
somewhere ... so different to my own sense of the more static qualities of paper and canvas".
These pieces celebrate so clearly this notion of material movement, of lines constructing surfaces,
of interior and exterior facades enveloping volume, of rims outlining space, and of wonderful colours
dancing harmoniously together.
her.
Helen brings a whole new perspective to ceramics and is an inspiration for everyone who encounters
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 87

Wedge
Gerry Wedd
"All art is subversive." Pablo Picasso
Picasso knew all about subversion, employing subversive tactics when he first began
working in ceramics in 1947. He worked at the Madoura pot1ery in Vallauris, decorating
and producing over 2000 ceramic objects including utilitarian and sculptural objects.
While much of the work referenced historical, classical ceramics, his approach subverted
those idioms. He decorated plates and urns but also kiln furniture and bricks.
For Picasso, the choice of ceramics as part of his art practice was a subversive one.
Although many twentieth century artists produced some ceramic works, none at that
stage had embraced the medium with such vigour. Clay was a material that fitted
uneaSily with the mores of Modernism in the visual arts; it was largely the stuff of
kitsch, maquet1es and mass-production.
Ceramics is always rubbing up against, or intersecting, the visual arts and design.
Clay (ceramic) subversion seems to come from outside ceramics practice rather than
from within. Notable subversive works such as Duchamp's urinal, Lucio Fontana's
pierced forms and, more recently, the urns of Grayson Perry, are clearly positioned
outside crafts practice. Even pivotal clay works such as Peter Voulkos Rocking Pot
were clearly informed by movements in the visual arts. Subversive works within
ceramics practice have tended to be subtle (see Garth Clark's essay, Betty Woodman:
Storm in a teacup in his book Shards) or have been produced by iconoclasts: think
George Ohr. In the 1970s in Adelaide there was a bunch of 'ratbags' subverting the
ideologies of studio ceramics, producing work that referenced china cabinet ceramics
rather than the prevailing 'wabi-sabi' ethos. Interestingly. apart from Bruce Nuske and
Christopher Headley. most of these artists moved away from clay.
The theme (or at least the title) of the Australian Ceramics Triennale is Subversive
Clay. Whilst the true meaning of that title may be ambiguous. its implication is fairly
obvious, referring to works or activities that challenge current assumptions about
ceramic (clay) practice - i.e. a 'subversive' clay wouldn't be clay at all or would at least
not act in the desired clay manner during making or firing. The closest clay-related
subversive activity I can think of in current practice is that of woodfiring The very act of
digging, making and firing (in wood ash at frightening temperatures) a clay body that
hasn't gone through the filtering and adjusting of commercial bodies, is tantamount to
subversion, challenging the prevailing commodified approach to much studio ceramic
production.
The choice of wood firing is a kind of act of subversion. It could be seen as a
political act akin to the counter culture of the 1960s and 70s, the current 'occupy'
movement and the various 'slow' activities growing by the day. If the choice to step
outside established models of social order can be seen as an act of subversion, there
may be a case that the choice to practise ceramics is inadvertently SOCially subversive.
A livelihood which may entail weeks of making and developing work. decorating and
experimenting with glazes, then exposing that work to extreme heat with a strong
potential for disaster. is one that is out of step with cultural social norms, suggesting
either subversion or a kind of madness.
88 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Project
Jasmine Targett. Crumbling Ecologies, Craft Victoria, April 2012; photo: courtesy Craft Victoria and the artist
Crumbling Ecologies
Jasmi ne Targett ponders on whether we can grow something new in the crafts
Earlier this year, Craft Victoria hosted an exhibition by Jasmine Targett in which she commented on
the steady decline of craft-based courses within Victorian tertiary educational institutions. Crumbling
Ecologies, one of three works, was an ephemeral installation of over 35,000 handmade porcelain
geraniums made by Targett with the assistance of more than 100 volunteering artists, crafters, students,
teachers, curators and creative fellows in Victoria and New South Wales . The work was her response to
the ongoing threatened closure of many media-specific courses across Victoria. The project examined
the relevancy of these materials within contemporary arts practice and the impact the loss of educators
will have on Melbourne's arts ecology.
On the brink of crumbling, the porcelain geraniums embodied the story of their makers - the artists,
teachers and students directly impacted by these threatened closures. Porcelain, a material known for
both its strength and fragility, was used to denote the loss of educators and the knowledge they and
their hands pass on. As the work lay on the floor of the exhibition space, it embodied the beauty and
integrity of craft that is soon to be lost, the ecology that may be unable to regenerate. The outcome of
the work and its value was determined by the audience's response . Viewers were invited to take a leaf
and pay what they thought it was worth.
In many parts of the world there are geranium species that are critically endangered or extinct, whilst
ironically, in Australia the garden geranium is on the Australian National Heritage Trust's Alert List for
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 20t2 89

1 Geranium leaves drying after being
dipped in porcelain slip
2 Porcelain·dipped leaves layered on
kiln shelves ready for firing
3 Sneek peek inside the kiln at 350"C
4 A porcelain-dipped leaf fished out of
the kiln at 450"C
5 A porcelain-dipped leaf fished out of
the kiln at 550"C
6 After the firing
7 Fired porcelain leaves laid out ready
for packing
Thanks to Szilvia Gyorgy who
photographed the eHorts of the Sydney
artists who came together in March
2012 for the Crumbling Ecologies
Project at Newington Armory Artists'
Studios, Sydney Olympic Park.
6
90 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Project
I
@
Jasmine largett, Weather
Barometer installation
2012 part of the Crumbling
Ecologies Project held at
Craft Victoria, Aplil 2012
Photo: courtesy Craft VictOria
and the artist
Environmental Weeds. Although in danger of becoming a pest
to Victoria's native flora and fauna, they are still one of the
most popular commercially sold garden plants. In Melbourne,
geraniums sit ambiguously between a plant and a weed,
deriving connotations of being outdated and old fashioned.
One of the key arguments used to justify the closure of the
craft studios is that these materials and practices have become
outdated and no longer relevant to contemporary arts practice
and research. Targett used the geraniums as symbols of
the economic impact on the ecological equilibrium and the
importance of actively preserving craft as a diverse form of
contemporary arts practice.
Sitting alongside Crumbling Ecologies were two other
works, The Beauty of Weeds and Weather Barometer.
For more information on the these works and the project in
general, please visit http://crumblingecologies.blogspot.com.au;
E: jasminetargett@hotmail.com
Jasmine Targett acknowledges the assistance of her
sponsors as important parts of the arts ecology:
The City of Melbourne for the Arts Projects Grant,
Clayworks for the supply of porcelain, and Northcote
Pottery for the use of their kiln facilities.
Jasmine largett, The Beauty of Weeds
Installation, 2012, part of the Crumbling
Ecologies Project held at Craft Victoria
Photo: courtesy Craft Vidoria and the artist
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 91

Join the Pots
A collection of images of work by Janet DeBoos from the archives of
Pottery in Australia (PIA)IThe Journal of Australian Ceramics (JAC), 1962- 2012
Stoneware.
high calcium
glaze,
woodfired
1300"(,
terracotta slip
trailing
Photo: Max
OeBoos
PIA, VoilS
N02
1976
Stoneware Jars
shine glaze
PIA, Vol 18 No 2
1979
Storage Jar
oxidised
salting
electric firing
1300"(
Photo:
Alistair Hay
PIA. voln
No 1
1983
Platter, Different
Approaches
exhibition (with
Richard Brooks.
Rod Bamford and
Dianne Peach) at
Lake Russell Gallery
Coffs Harbour
PIA, Vol 23 No 2
1984
(I
, ~- ~~.,
,
".....,.
.
..•. . ~--.-.-
-.
Breakfastware, porcellaneous stoneware. 1984
PIA, Vol 24 No 2. 1985
Teacup and Saucer, porcelain 1988
PIA, Vol 28 No I, 1989
I like to make things with clay. As such I make no distinction between
functional and non· functional ceramics in terms of importance.
At present I am engaged in the making of predominantly functional
pottery and find it as challengjng and interesting as past excursions
into the 'one off'. The making of pleasing and functional pottery
seems one of the most difficult areas in ceramics.
92 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Join the Pots
Current
production
ware
PIA, Vol2S
No 2
1989
A. ~
ca
.--- •
• •
Memories of the
Domestic Life 1
teacups, 1991
The Meantng of
Function
PIA, Vol 35 No 1
1996
Current production ware, dry glaze, hA5-48cm
PIA, Vol 35 No 4, 1996
Six PossibiUties for Monday Morning
porcelain, cedar box; acquired
Gold Coast City Art Gallery Collection
PIA, Vol 36 No 1, 1997
5aladier, Australian
porcelain, h.27cm
JAC, Cover, Vol 44 Nol
2005
-::;... .......... Chinese bone china ware
2003, li"t casts
Garniture Series,
2010 porcelain decals
glazed, h.25cm
photo: ANU
Photography
JAC , Vol 50 No 2, 2011
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 93

Trade
Artist Run Initiatives
around Australia
For many artists entering the daunting world of exhibiting their work, the first port of call is an Artist
Run Initiative (ARI). Wikipedia's definition of an ARI is "any project run by visual artists to present their
and others' projects" . However, galleries can also be run by emerging curators or arts administrators
looking to break into the industry by gaining experience at ground-level entry galleries. What these
organisations have in common is the desire to show works from emerging artists in a low-cost,
professional environment.
ACT
M16 Artspace, Kingston
http://m16artspace.com.au
ANCA (Austral ian National Capital Artists),
Dickson
www.anca.net.au
NSW
Firstdrah Gallery, Surry Hills
www.firstdraftgallery.com
Gaffa Gallery, Sydney CBD
www.gaffa.com.au
Institute of Contemporary Art Newtown
www.icanart.wordpress.com
MOp, Chippendale
www.mop.org.au
Newcastle Art Space, Newcastle West
http://newcastleartspace.blogspot.com.au
Peloton, Surry Hills
http://peloton.net.au
SNO Contemporary Art Projects, Marrickville
www.sno.org.au
Spiral Gallery Cooperative Ltd, Bega
www.spiralgallery.org.au
The Cross Art Projects, Darlinghurst
www.crossart.com.au
Watt Space Gallery, Newcastle
www.newcastle.edu.au/wattspace
Workshop Arts Centre, Willoughby
www.workshoparts.org.au
At the Vanishing Point, Newtown
www.atthevanishingpoint.com.au
NT
Darwin Visual Arts Association, Darwin
www.dvaa.net.au
Watch This Space, Alice Springs
www.wts.org.au
QLD
Boxcopy, Brisbane
http://boxcopy.org
made. Creative Space, Toowoomba
www.madecreativespace.com
SA
Gallery M, Oaklands Park
www.gallerym.net.au
FELTspace, Adelaide
www.feltspace.org
Seedling Art Space, Blackwood
www.seedlingartspace.asn.au
TAS
Inflight, Hobart
www.inflightart.com.au
Sawtooth, Launceston
http://sawtooth.org.au
VIC
Kings, Melbourne
www.kingsartistrun.com.au
Conical, Fitzroy
www.conical.org.au
Platform Artist Group Inc,
Degraves Street Subway
http://platformartistsgroup.blogspot.com.au
94 THE IOURNAL OF AUSTRALIAN CERAMICS IULY 2012

69 Smith Street Gallery, Fitzroy
www.69smithstreet.com.au
Off The Kerb Gallery & Studios, Collingwood
www.offthekerb.com.au
C3 contemporary art space, Abbotsford
http://C3artspace.blogspot.com.au
Blindside, Swanston St. Melbourne
www.blindside.org.au
WestSpace, Bourke St, Melbourne
http://westspace.org.au
Cowwarr Art Space, Gippsland
www.cowwarr.com
arc yinnar, Yinnar
www.arcyinnar.org.au
WA
Ok Gallery. Northbridge
www.oktachoron.com
FreeRange, Wellington St. Perth
www.freerange.org.au
Gotham Studios. Northbridge
http://gothamstudios.com.au
Paper Mountain, Northbridge
www.papermountain.org.au
Museum of Natural Mystery,
Charles St, North Perth
http://naturalmystery.org/
Photos: courtesy Firstdraft Gallery, Surry Hills. NSW
Keep up with the latest ARls:
http://aripedia.org.au
www.matchboxprojects.com
http://crawl.net.au
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 95

Artist in Residence
Expectation and Experience
Christopher Headley reports on the Artist in Residence Program at the
Yingge Ceramics Museum in Taiwan
The email that popped up on my computer screen in early June 2011 began, " .. . Congratulations!
You have passed the selection process and are now one of the artists in residence in Yingge Ceramics
Museum. Yingge is a town which has been known as Jingdezhen of Taiwan . In order to preserve the
town's cultural legacy, the museum continuously hosts different types of projects to give the town a new
spirit of the times. The residency program is one of them. This is not only about passing on knowledge
and techniques but also about communication between various aesthetics, regardless of form or time. It
will surely broaden the vision of all, and you are sincerely welcomed to be part of this wonderful event. "
I was thrilled to be selected so I took it up for the July-September period, which coincided with the
2011 International Ceramics Festival held at the museum.
The museum impressed with the many facets of its collection, the temporary exhibitions and its
commitment to engaging with the general public. (Apparently, during the Summer Festival the museum
welcomes 15,000 visitors through its doors on any Sunday.)
The festival again demonstrated the high standing in which the art and craft of ceramics, as well as
the artists themselves, are held in Yingge and in Taiwan, launching with great panache and publicity
in the presence of local government officials, invited diplomats and the media. Fellow resident artists,
Aya Murata from Japan and David Morris from USA were similarly impressed with the standard of
preparations for the festival, the variety of activities and the great enthusiasm of everyone involved. It
felt great to settle into work in this environment with its rich history and tradition of ceramics and I had
the privilege to be one of the first artists to use the pristine facilities in the spacious International Visitors
Studio.
I took note of an interesting space in the museum which was not being used over summer as it was
too hot and unyielding for most people, including the museum staff. I thought, "What a challenge!"
and proceeded to seek permission to use it. I set about planning a series (that in fact became a trilogy)
of site-specific installations for the space.
Before making the journey from Australia to Taiwan, my mind had been busy creating expectations
of visiting a country with very different people, language, culture and traditions. After arriving, it did
not take long before the differences seemed to diminish and, in f act, it was the similarities that became
more apparent. Sure, the language was different, and the local culture and tradition were distinct, but
people are fundamentally the same. My initial expectations were soon altered by the actual experience.
Common Ground became the title of the trilogy, expressing my thoughts, feelings and experiences
whilst travelling from one country to another. I invited Richard Mathews, an official at the Australian
Commerce and Industry Office in Taipei, to launch the trilogy when the first installation was completed,
half way into the residency. Each work would occupy the space for a period of two weeks .
OPPOSite page: Christopher Headley, Restrained. 2011 , slipcast earthenware, clear glaze, ceramic decals and gold lustre
w.2Sm, d.2m; photo: artist
96 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Christopher Headley, Revealed , 201 I
slipcast earthenwa re, clear glaze, ceramic
decals and gold lustre, w.2Sm, d.2m
Photo: artist
The first installation, Restrained, visually represented the 'before arrival' emotional state by a
reference to an iconic Australian image. It was also a visual metaphor to express my contained emotions
and, hopefully when viewed, to resonate with the viewer.
Quoting from my artist statement for the Taiwanese audience " ... In Australia, early white settlers
brought with them their possessions which, in some cases, included pets as well as animals destined
to become a source of food. The rabbit was one such animal, that, when released into its new habitat,
proliferated to plague proportions. It had no natural predators and soon spread westward. These rabbits
competed for food with the farm animals to such an extent that in Western Austra lia, farmers organised
the construction of a fence from south to north to contain the rabbits and prevent them from spreading
further west. The fence was almost 2000 kms long and was simply referred to as the 'Rabbit-Proof
Fence' ... " Of course, the rabbit-proof fence proved to be ineffective and could not restrain the rabbit
population in Australia ... just as one's feelings cannot be contained for too long.
This installation comprised of several hundred ceramic rabbits ...
Installation art is interactive, experiential, sometimes confrontational, often contemplative, or simply
good fun. Revealed was the second installation in which I visualised two themes. Firstly, the installation
invited the viewer to become an archaeologist of the future, looking at findings or unearthed discoveries
from the past - that is, from the present day - and also to recognise the 'common ground' of
childhood. The ceramic 'shards' were shapes that suggested animal toys from Australia (the kangaroo,
koala, dingo and platypus), and Fruit Fighters, robotic toys I 'unearthed' in Taiwan. Here, they were
discovered together in the same archaeological dig, engaging with the idea that. as children, we pass
through our formative years playing with toys that appeal across boundaries. As we take on the complex
challenges of growing up into adulthood, this unencumbered time of childhood becomes lost under
layers of learned experiences.
Revealed provided an opportunity for the viewer to revisit and contemplate this time of innocence.
The second theme evoked the history of Chinese people who came to Australia in the mid-19th century
to search for gold. They left a significant footprint on the Australian cultural landscape - a cornerstone
of the multicultural Australia of today.
98 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Artist in Residence
Christopher Headley and Summer, Re·Positioned, 2011 , sHpcast earthenware. clear glaze. ceram ic decals and gold lustre.
w.25m, d.2m; photo: artist
This theme of cross-cultural mingling was continued in the third installation, Re-Positioned. For this
work I arranged to collaborate with Summer, a local artist who paints in a traditional blue and white
style. I produced the forms and Summer decorated half of them while I decorated the matching half in a
Western style using printed ceramic decals.
In this installation, two works were placed facing each other as if before a mirror. However, the
'reflection' is not quite as expected for we see the surfaces that imply cultural differences yet the forms
capture our essential similarities. We realise that our original perceptions and expectations are clearly
altered by the experience of travelling. Re-Positioned attempted to visualise this altered state.
The Yingge residency provided a most stimulating and rewarding chapter in my continuing artistic
practice . I would like to thank Cheng Wen-Hung, Educational Promotion Department Chief, who
looks after the reSidency program at the Yingge Ceramics Museum, for his enthusiastic support,
encouragement and assistance throughout my time at the museum. The residency included a return
airfare, use of the studio, studio support, basic accommodation near the museum, a $1000 materials
allowance and a stipend of $20 per day. There was an expectation of some kind of community
involvement and the donation of some work to the museum's collection.
www.christopherheadley.net
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 99

Potters Marks
Potters Marks
Janet DeBoos
Helen Fuller
Dawn Wheeler, 2010
Rosella Family
Hermannsburg potter
Christopher Headley
Stephen Roberts
1976 1990 1991
1994
Stephanie Outridge Field
100 THE JOURNAL Of AUSTRALIAN CERAMICS JULY 2012

Vi ewed + Read
Hodge Inkjet Print on Clay
by Jenny Hodge
A resource DVD for artists and teachers
Duration: Method 48 mins; Keraflex 22 mins
$55
Now available online
www.australianceramics.com
or call 1300720 124
Ceramic artist Jenny Hodge has put together a training DVD on her Hodge Inkjet Print on Clay
technique. Hodge formulated this process in 2008 and has been refining it ever since. As an artist who
uses printing on clay methods on my own work I was extremely interested in learning more about
this technique, but like most printing on clay techniques this procedure also has its own limitations. It
can, however, be used with great success on simple drape and slump mould forms or with Keraflex®
porcelain sheets, which Hodge demonstrates.
The DVD titled Hodge Inkjet, Print on Clay: A resource DVD for artists and teachers explains in a
very slow and methodical fashion the process involved in printing from an inkjet transparency. This slow
and detailed instruction may seem a little protracted and repetitive but it obviously follows a formula
used in many high school educational training films. Even though videos of this technique can be found
on the internet, this DVD provides comprehensive and concise step-by-step sequences that you cannot
find online.
The DVD is divided into distinct chapters which describe particular parts of the process . It thoroughly
covers the topics of: Tools & Equ ipment, Select & Prepare the Image, Clay Preparation, Printing, Adding
Definition & Colour, Getting Artistic, and Molding into Forms. It is filmed in a high school setting with
the students setting up and demonstrating the printing procedures. There are also interviews with the
students and chapter summaries.
Hodge should be commended on pursuing this unique printing process. Her website clearly states that
she has spent many years experimenting and working through the failures to come up with this rather
inexpensive and straightforvvard technique. The DVD cannot be faulted on its attention to detail and I
am sure it will function well as an educational tool in the classroom. I however. found the sluggish pace
to be a little tedious, but that could just be a symptom of the hectic fast-paced world that I inhabit or
our rel iance on immediate and speedy information.
Petra Svoboda
E: petrasvoboda@hotmail.com
www.petrasvobodaceramics.com
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 101

Australia Wide
act
The nights are drawing in and the days are
sometimes dreary but nothing can dull the
enthusiasm of the clayworkers of Canberra,
whether they are novice or more practised.
Classes at the Canberra Potters' Society are full
to bursting and workshops at CPS, the Australian
National University, Strathnairn Arts Association
or elsewhere are attracting good numbers, as are
the many galleries exhibiting ceramics.
The annual Emerging Artist Support Scheme
(EASS) exhibition for selected 2011 ceramics
graduates from ANU and sponsored by the
Canberra Potters' Society will be held at the
Watson Arts Centre from 19 July until 5 August.
This is always a high quality and exciting
exhibition. The selected graduates for the 2012
exhibition are Lucas Boswell, Melinda Brouwer,
Erin Kocaj and Amy Hick (who is a recipient of
an inaugural Trudie Alfred Bequest Scholarship
for 2012). Other coming exhibitions at Watson
Arts Centre include the Canberra Potters' Society
Annual Members Exhibition and presentation of
the Doug Alexander Memorial Award, 13-30
September, and Beyond the Surface, new
ceramics by Debra Boyd-Goggin, Jacqueline
Lewis and Alicia Kane, from 18 October to 4
November.
Visiting artist from the USA Adam Knoche will
be in residence at Strathnairn Arts Association
from mid-June until the end of July. Adam is a
woodlirer, a good occupation for this time of
year in Canberra! In the Homestead Gallery, 20
July - 5 August, Craig Edwards will be showing
his latest ceramics in the exhibition Student of
the Red-Brown Earth.
At the beginning of November, Canberra w ill
welcome British potter Sandy Brown for a short
season of lectures and workshops - sure to be
special.
Cheers, Jane Crick
E: janecrick@dodo.com.au
The Sydney region annual exhibition of TAFE and
University students work A Fresh Perspective
showcased some very impressive pieces at the
Kerrie Lowe Gallery. Among the many talented
emerging students was Susan Chen, a recent
graduate from Sydney College of the Arts (SCA) .
Chen's installation, Unwritten, was presented
on a long wooden table, painted white, with
five ceramic books placed in a row along the
length. Each book had a scene sitting on top
of the open pages in the style of a pop-up
book. The fairy tales have been subverted to
tell a cautionary tale of contemporary realities.
Hayden Youlley from COFA displayed two distinct
styles of work; the round lamp shades evoked
visions of sunshine on cracking ice, while the slip
cast vessels had the appearance of paper that
had been scrunched and then straightened, very
fine and fragile.
Congratulations to the top NSW TAFE Diploma
Student Medal winner, Izette Felthun. Izette
exhibited her work in the exhibition following the
students' show at Kerrie Lowe's with a complete
body of work. The burnished and saggar-fired
surfaces of the figurative forms imbued a tactile
seduction to the simplified and harmonious
forms.
Back to Back Galleries celebrated their 20th
anniversary in fine style with a tile exhibition,
Tiles Tell Tales . Invitations were given to earlier
members and friends of the gallery to produce a
tile. Many tiles had a meat theme derived from
the building's previous use as a butcher shop
that had a long interesting history going back
to the 1900s. The ever-efficient and voluntary
Gallery Director, Kath Heinrich, is an amazing
knitter. Kath knitted and stitched a sheep's head,
impressed it into a clay slab, then soaked the
knitted article in slip and fired them both to
produce two unique tiles.
A large selection of tiles can be viewed on
www.newcastlepotters.org.au. An unexpected
birthday gift was a grant from the NSW
Government's Community Building Partnership of
$13,200 to put a proper ceiling in the workshop,
a very welcome surprise.
Watch out for Bowled Over Again, an
exhibition and competition of amazing bowls
at Back to Back Galleries opening on 14
September, with Keane Ceramics giving awards
for Best Bowl. For more information, email sue@
ceramicartist.com.au.
Sue Stewart
E: sue@ceramicartist.com.au
102 THE JOURNAL OF AUSTRAtlAN CERAMICS JULY 2012

d
2012 is proving to be a very busy
year for potters in SE QLD . The
main focus for the Gold Coast
Potters Association has been their
inaugural Art & Crafters Market,
held in May, and the 3rd Empty
Bowl event in June. With about
600 bowls this year, it's been a
magnificent ach ievement. The
silent auction attracted works from
prominent artists Gerry Wedd,
Geoff Crispin, Sandy Lockwood,
Michael Pugh, Len Cook, Stephanie
Outridge-Field, Stephen Baxter, Su
Brown, Peter Wallace, Anne Mossman, M ichaela
Kloeckner, Megan Puis, Katherine Mahoney,
Di Buckland and others.
The Gold Coast Potters are conducting two
workshops this year - Precious Gold Secrets
with Midge Johansen on 29 July, and Raku Kiln
Making (using Ikea metal bins) with Stefan Jakob
from Switzerland to be held 26-28 October. For
information go to www.goldcoastpotters.com.
Entries have now closed for the Gold Coast
International Ceramic Art Award, which will be
held 25 August - 14 October 2012;
www.ceramicartaward.com.
The Swell Sculpture Festival will be held on the
C urrumbin foreshore from 14-23 September,
2012; www.swellsculpture.com.au.
The Wide Bay Burnett Potters 37th Convention,
from 19- 21 October, will star five brilliant
local potters - Gai MaCDonald, Janna Pameijer,
Ian Reid, Stephen Roberts and Gary Zhai. The
cost is $75 for WBBP members and $85 for nonmembers.
The convention is supported by an
RADF grant from Sunshine Coast Council
and Arts Queensland. Contact Debra for
more information on 07 54562743 or email
potterinpurple@hotmail.com.
If any groups in SE QLD have news they would
like to include in the next 2012 issue, please
email me.
Happy potting, Lyn Rogers
E: romeo-whisky@bigpond.com
kathryn Mitchell, Miro Constellation Series 2, exhibited
in June 2012 in The Art of Spain group exhibition at
19 Karen Contemporary Artspace, Mermaid Beach, QLD
W ith the 2012 Australian Ceramics Triennale,
Subversive Clay, approaching fast, Adelaide
is abuzz with anticipation and conference
organisation. With the help of various
committees, project manager extraordinaire Amy
Worth is pulling all the pieces together, for an
amazing four days filled with discussion, debate,
exhibitions and workshops.
Exhibition highlights include Bruce Nuske
and renowned furniture deSigner Khai Liew's
exhibition, Irrational and Idiosyncratic, at the
Samstag Museum. This collaborative show will
explore the makers' shared interest in the 19th
century European response to all things oriental.
The Post-Skangaroovian Funk exhibit ion in
UniSA's Kaurna Gallery will exhibit work that
exemplifies the legacy of the Skangaroovian Funk
movement of the 70s, which was characterised
by non-functional ceramics that made social,
political and cultural commentary. The sister
show at the Art Gallery of SA exhibiting original
artworks from this unique period. Another
exhibition not to miss during the Triennale
features Prue Venables, Kirsten Coelho, Bruce
Nuske and Liz W illiams at BMG Art Gallery. And
finally, Klaus Gutowski will have one of the few
solo shows, at Peter Walker Fine Art. He was
recently awarded the Helpmann Academy's
Ashington Mentorship with the renowned Akio
Takamori, who is giving a masterclass in the
week preceding the conference and will remain
in town to mentor Klaus.
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 103

Australia Wid e
Nicole Greenslade, Post Skangaroovian exhibition
September 2012
Recent exhibitions in Adelaide were Locavore
at the JamFactory showroom in honour of the
Tasting Australia Festival, celebrating locally
grown, gathered and consumed food. The
exhibition curator was Wayne Mcara and
included ceramics by Tjimpena and Anilyuru
Williams, Jane Burbridge, Sunshine March, Jane
Robertson and Angela Walford. JamFactory
was also recent host to a Sandy Lockwood
throwing workshop, which involved participants
experimenting with alternative throwing
techniques and the construdion of pieces
using many thrown components. It was a great
weekend with an amazing artist.
And a final reminder to those who are not yet
onboard, go to www.australianceramicstriennale.
com, for the program, accommodation
information and registration. Don't forget to
register early for discounted rates. This is an
event not to be missed!
Sophia Phillips
E: sophia@sophiaphillips.net
tas
Fired Up, held in April, was an exhibition of
ceramics by eleven Tasman ian clayworkers at
the Burnie Coastal Art Group Gallery, opened
by Greg Leong, Diredor of the Burnie Arts and
Function Centre, and the Burnie Regional Gallery.
It presented the artwork of recent graduates
of the Ceramics Studio at the Tasmanian
Polytechnic, Hobart - Carol Buissink, Kim Foale,
Philadelphia Hanson-Viney, Linda Smith and
Janet Walmsley - together with the ceramic art
of established praditioners Christine Crisp, Kate
Larby, Dawn Oakford, Robin Roberts, Bronwyn
Theobald and John Watson. The aim was to
highlight what motivates these artists to create
and why clay is their preferred medium. Whether
producing tableware or sculpture, each of the
artists is passionate about something, be it an
issue, a technique, a time, a place, a process, or
an experience.
During May several members participated in a
joint exhibition with the Art Society of Tasmania
as a fundraiser for the Cancer Council. Showing
in the picturesque Lady Frankl in Gallery and
entitled Rose, the exhibition was themed around
Picasso's Rose period and it was interesting to see
what a wide variety of responses this produced.
In addition to exhibiting individual pieces, we
also participated in a working bee to hand paint
slipcast cups and saucers that were subsequently
fired by Dawn Oakford. The exhibition opened
with a very well attended afternoon tea during
which the teaware was purchased.
As I write, we are eagerly anticipating a
workshop to be conduded by Hungarian
ceramicist Marta Nagy who is currently artist
in residence in the ceramics department of the
University Art School in Launceston.
We're also hoping to attrad Sandy Brown to
Tasmania at the end of her workshop tour up
north.
John Watson
E: john@dmink.net
vic
Pottery Expo at Warrandyte was once again a
most enjoyable experience, despite two days
of extreme heat. It offered a place to network,
catch up w ith friends, talk about pots and
techniques and generally enjoy the relaxed
festival atmosphere. Many customers arrived
early on Saturday to beat the heat and to get in
early to choose from the wide variety of ceramics
on display .. . and there was always the river for a
quick dip to cool off!
The Melbourne Teapot Exhibition, at the Studio@
Flinders, showed an interesting mix of teapots
in all shapes, sizes and incarnations. The
standard of work was excellent with a larger
104 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Australia Wide
than usual number of functional teapots. The
Functional Award went to Sarah Hogwood for
a beautifully crafted, black glazed porcelain
teapot - a quiet, understated form in which
all elements came together beautifully to
create a supremely functional teapot. The Non­
Functional Award was won by Kimily Clark with
T'Limpots, a very well conceived, fresh group of
teapot forms. The Highly Commended Walker
Ceramic Award went to Jill Anderson and the
Clayworks Encouragement Award was won by
Rosie Hughes. Sharon Twining and Tania Jeffery
received Highly Commended Awards and Tania
Jeffery won the Peoples' Choice.
The Decal Specialists and Ceramics Victoria Inc.
have recently launched the Decal Award, an
acquisitive award based on technical skill in both
drawing and manufacture of the ceramic form.
The acquisitive prize for the CV Inc. permanent
collection is a generous $2000. The award will
recognise the diversity and skill in the production
of original studio ceramic work along with
the challenge of marrying drawn designs with
ceramic forms. Other manufacturer's awards will
be given by Walker Ceramics, Clayworks and
Northcote Pottery, along with a Regional Award
from Potters Equipment. The exhibition will be
held in October 2012. Entries close 14 September
at 5pm. Entry forms and conditions of entry are
available from http://ceramicsvictoria.org.au.
Keep warm through the winter months and
happy potting!
Glenn England
E: glennengland@optusnet.com.au
All is quiet in WA, but much is happening.
Sandra Black completes her memorable trip
to Haian, China, as Graham Hay prepares for
his June trip to the US for his sellout paperclay
workshops in Michigan and Texas.
Stewart Scambler's show of woodfired work
including new forms will take place at Gallery
East, opening on 21 September. Stewart will give
a talk in July to the Art Gallery of WA guides on
his work.
After decades of making do with a cramped
ceramics studio, Fremantle Art Centre (FAC) is
opening a new ceramics teaching studio in a
comfortable, large, stand-alone facility. With new
kilns and more space, FAC will continue its longstanding
association with WA ceramics, offering
more courses to students from Term 3.
During May and June, Elaine Bradley, Artist in
Residence in the ceramics department of Central
Institute of Technology, created large handbuilt
platters with printed and textural surface
treatments. She also investigated the replication
of Joan Campbell's printed tiles set into the jetty
as part of the revitalisation of Bather's Beach,
Fremantle.
Cher Shackleton's work was included in the Lark
500 Series book, Raku, the only WA artist to be
featured.
The Ceramic Arts Association of WA (CAAWA)
Study Group continues with demonstrations by
Helen Dundo, Greg Crowe and Cher Shackleton,
plus Mike Kusnik's enlightening glaze talks.
CAAWA's Annual Selective Exhibition takes place
at ZigZag Cultural Centre Gallery, Kalamunda,
15 July - 9 August.
CAAWA's POTober 2012, on 5, 6 & 7 October
at Central Institute of Technology, Perth,
comprises exciting workshops by international,
national and local ceramicists. Activities include
a BBQ, sale of pottery and an exhibition of the
demonstrator's work in the Showcase Gallery.
Information, registration and payment forms at
www.ceramicartswa.asn.au/newslpotober-2012-
workshops-central. The demonstrating artists
include Royce McGlashen (NZ), Katrina Chaytor
(Canada),
Stefan Jakob (Switzerland) and Adil
Writer (India). Interstate artists include Malina
Monks and Merran Esson (NSW), with WA artists
Ian Dowling, Greg Crowe, Njalikwa Chongwe,
Robyn Lees, Bela Kotai, Heather Tailor, Cate Cosi
and Andrea Vinkovic
Narda McMahon's exhibition The Outsider
is the next chapter in her exploration of the
unusual with a collection of new works on paper
and handbuilt clay sculptures. Opening at the
Studio Underground Foyer at the State Theatre
of WA on 13 July, this show depicts a group
of women throughout history who are anything
but typical. Narda's exhibitions never fail to incite
a response from the audience.
Elaine Bradley lalab@iinet.net.au
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012
lOS

Stockists
An
canberra potters society
1 aspinal sl watson
national gallery of australia
books hop parkes pi canberra
walker ceramics
289 canberra ave fyshwick
NSW
art gallery of nsw
art gallery rd the domain
sydney
bathurst regional art gallery
70-78 keppel sl bathurst
bellingen newsagency
83 hyde sl bellingen
blackwattle pottery
20 slennetl rd ingleburn
brookvale ceramic studio
11/9 powells rd brookvale
coffs harbour pottery supplies
8 primrose ave mullaway
essential object
65 andy poole drv tathra
gaffa
281 clarence st sydney cbd
gleebooks
131 glebe pornt rd glebe
goulburn regional art gallery
cnrchurch and bourke SIS goulburn
hazelhurst regional gallery
782 krngsway gymea
inner city clayworkers gallery
cnr st johns rd & darghan Sl glebe
keane ceramics
177 debenham rd soulh somersby
kerr Ie lowe gallery
49-51 king Sl newtown
lake macquarie art gallery
1 a f"SI sl booragul
moochinside
111 klilcare rd hardy's bay
museum of contemporary art
140 george st sydney
new england regional art
museum
ken lucky st armidale
northern rivers pottery supplies
54d terania SI north lismore
nsw pottery supplies
41/159 artnur Sl homebush
nulladulla potters
princes hwy milton
planet
114 commonwealth st surry hills
port hacking potters group
po box 71 miranda
sabbia gallery
120 glen more rd paddington
sturt craft centre
range rd mittagong
T
museum and art gallery of the nt
conacher sl fannle bay
QD
cairns regional gallery
cnr abbott and shields SIS calms
gold coast city gallery
135 bundall rd surfers paradise
north queensland potters
association
15 flowers SI townsville
pottery supplies
51 casllemarne SI milton
queensland art gallery
stanley pi south bank
the clay shed
2124 hi-Iech dve kunda park
art gallery of south australia
north lerrace adelaide
bamfurlong gallery
main sl hahndorf
the pug mill
17a rose 51 mile end
derwent ceramic supplies
16b sunderland Sl moonah
artisan books
159 gertrude st fitzroy
bendigo art gallery
42 view 51 bendigo
brunswick bound
361 sydney rd brunswick
clayworks
610hnSIOn crt dandenong
craft victoria
31 fllnderslane melbourne
macedon ranges potters
33 yellow gum blvd sunbury
national gallery of victoria
180 sl kllda rd melbourne
new leaves
cnr anslow and collier SIS wood end
northcote pottery supplies
142-144 weston 51 brunswick east
potier
29 mills st albert park
potters equipment
13/42 new sl ringwood
readings books
309 Iygon st carlton
readings books
112 acland sl st kilda
red hill south newsagency
shoreham rd red hili south
rmit bookshop
330 swanston st melbourne
shepparton art gallery
70 welsford Sl shepparton
the brunswick street bookstore
305 brunswICk st fitzroy
~A
fremantle arts centre
1 frnnerty 51 fremantle
geraldton regional art gallery
24 chapman rd geraldton
graham hay
robertson park arllSts studiO
northbridge
jacksons ceramics
shop 4,30 erindale rd balcatta
perth institute of contemporary
art
perth cultural centre lames st
northbridge
potters market
56 stockdale rd o'connor
lopdell house gallery
41811tirangrrd waitakere city
Please contaCT the office if you
have a suggestion for a new
stockist; T: 1300 720 124
E: mail@australianceramics.com
.06 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 20.2

---r
Become a subscriber
The Journal of
AUSTRALIAN
CERAMICS
AUSTRALIAN
SUBSCRIPTION
AU S48
3 issues!1yr
AU S92
6 issues!2yrs
NEW ZEALAND OVERSEAS
SUBSCRIPTION SUBSCRIPTION
AUS60
AU S68
3 issues/lyr 3 issues!1yr
AUS116
AU S132
6 issues!2yrs 6 issues/2yrs
Name ____________ __ Address ________ _______
Postcode ___ Country _ _ __ Phone _ _ _
Email _ _ ___________ _ ___ _ _____________
Please enter my subscription: New o Renewal 0
3 issu es 0 6 issues 0 Amounts D
Method of payment:
Cheque (AUS only) 0 MasterCard 0 Visa 0
Card Number 0000000000000000
Expiry Date 0000
o Direct Deposit' (The Australian Ceramics Association / Westpac / SSS 032298 / Account No. 760550)
' PLEASE INCLUDE YOUR NAME IN THE DEPOSIT DETAILS
Signature / Date
gift subscription recipient details
Name _ _________________ _
Gift from _________ _
Address _ _ _ ____________________________ _
Postcode ___ Country _ _ _____ Phone ______ Email _______ _
Published 3 times a year by The Australian Ceramics Association. Please note: All prices include GST where applicable
Fax or mail to The Australian Ceramics Association, PO Box 274 Waverley NSW 2024 Australia
T: 1300 720 124 F: +61 (2) 9369 3742 E: mail@australianceramics.com www.australianceramics.com
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 107

Become a member
The
AUSTRALIAN
CERAMICS
Association
ENJOY THE BENEFITS OF BEING A MEMBER:
• 1 year (3 issues) subscription to
The Journal of Australian Ceramics
• 12 months Product, Public and Tenants
Group Liability Insurance (optional)
• 6 issues of TACA's bi-monthly enews,
Australian Ceramics - inTOUCH
• Free artist listing on the online Australian
Ceramics Directory
• Discounts on TACA workshops
• Opportunities to exhibit in TACA's national exhibitions
• Opportunities to meet other ceramic artists and
collectors
• Tax-deductible Membership Fee
Join now and be part of the peak organisation
representing Australian Ceramics.
Annual Fee (Membership is anniversary-based so the date you join becomes your annual renewal date)
D
D
Membership Fee $188/ with insurance (incl. $17.10 6ST) -
Membership Fee $88/ without insurance (incl. sa.oo 6ST) -
individuals
available only to individuals*
available to groups and
* A Certificate of Currency will be issued to those who take the 'with insurance' option.
Name ______ ___ ____ Address _____________ _
Postcode ___ Country ____ Phone __ _
Email _ ____________ ___________ ____ _ _ _
Method of payment:
Cheque IAU$ only) 0 MasterCard 0 Visa 0
Card Number
0000000000000000
0000
Expiry Date
o Direct Deposit' (The Australian Ceramics Association / Westpac / BSB 032298 / Account No. 760550)
* PLEASE INCLUDE YOUR NAME IN THE DEPOSIT DETAILS
Signature / Date
Fax or mail to The Australian Ceramics Association, PO Box 274 Waverley NSW 2024 Australia
T: 1300720124 F: +61 (2) 9369 3742 E: mail@australianceramics.com www.australianceramics.com
108 THE IOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Books & DVDs
On the Shelf
More books are available on www.australianceramics.com
NEW
_1IiII:~ DVD
1. The Art of Wood!ire
- A Contemporary
Ceramics Practice
by Owen Rye
This book illustrates the
work of more than 24
Australian ceramic artists.
Owen Rye discllsses his
perspective on wood·
firing, its technical
aspects and the aesthetic
possibilities.
AU 5110
2. Dry Glazes by
Jeremy Jernegan
All you need to understand,
create and manipulate satin
matts to very dry surfaces;
how to make and alter
glazes; over 270 formulas;
contemporary artists and
their glazes.
AU 539.95
3. Modelling Heads
and Faces in Clay
by Berit Hildre
A practical and in~de pth
look at modelling faces in
clay; step ~ by-step pidures;
information on choosing
clay and tools, drying work
and natural finishes.
AU 539.95
4. Hodge Inkjet
Print on Clay
by Jenny Hodge
A resource OVD for artists
and teachers giving step~
by-step instructions for
transferring images onto
clay.
Duration: Method 48 mins
Keraflex 22 mins
AU 555
Ekctric Kiln
GLAZES
CONE'
'1W~f
DVD
DVD
5. The Electric Kiln
by Harry Fraser
Written for the craft
potter, studio, amateur, or
professional. this book is
a comprehensive guide to
the selection, installation,
use and maintenance of
electric kilns in studios
and schools
AU $39.95
6. Glazes Cone 6
by Michael Bailey
Th is illustrated book
provides many base glaze
recipes for the popular
temperature 1220·1240"(
and ranging from shiny
to matt. It explores the
chemistry behind glaze
formulation, special effects
glazes, single firing and
brush~on glazes.
AU 540
1. The leach Pottery
1952
OVO. 32 minutes.
8&W with narration by
American potter Warren
Mackenzie; 17 minutes
of bonus footage taken
at the pottery in 1952;
14 page booklet by Shoji
Hamada.
AU S40
8. Ben Richardson •
Fire Works OVD and
booklet
This OVO and 38 page
booklet. published in
April 2010, examines,
challenges and celebrates
Ben Richardson'S
dedication to making
site-specific, wood~fired
ceramics; 24.5 minutes.
AU 545
ORDER FORM
ITEM;
Name ____________________________ __
All prices include GST and postage
w ithin Australia.
Address ____ ____ _____ ____ _
____ ____________ _____
Postcede ____ _ Country _______ _
Phone _ ____________ Email ____ ___ _____ ______ _ __
Cheque (AUS only) 0 MaslerCard 0 Visa 0
Card Number DODD DODD 0000 0000
Expiry Date 0 0 0 0 Totat 1 _______ __ The Australian Ceramics ASSOCIation

Classifieds
CERAMIC SUPPLIES
CUSTOM DECALS
By using state of the art digital printing technology, Decal
Specialists can produce high quality Custom Ceramic Decals
from original artwork. The decorative possibilities with
Custom Decals are only limited by your imagination!
Check. out our website: WW'IN.decalspecialists.com.au
T: 1300 132 771; E: enquiries@decalspecialists.com.au
KERRIE LOWE GALLERY
Sydney inner city pottery supplies: Keane's Clay - discount
on 5 bagS/l0+ bags; Southern Ice Porcelain; Museum Gel;
Chinese Oecals; Wide range of tools. glazes, underglazes;
Kerrie Lowe Gallery, 49 King St, Newtown 2042
T: 02 95504433 E: lowekerrie@gmail.com; Mon to Sat.
lOam - 5.30 pm; Thurs until 7 pm.
NORTH COTE POTTERY SUPPLIES
Northcote Pottery Supplies sells a range of quality pottery
materials including clay, glaze, tools and equipment for
the student, hobbyist and professionaL We run a range
of classes and workshops for those interested in furthering
their skill and knowledge in ceramics. We offer a firing
service, studio access and residency program, as well as
housing SMAllpieces, a space showcasing contemporary
Australian ceramics. 142-144 Weston Street Brunswick East
3057; T: 03 9387 3911; F: 03 9387 4011
WWIN.northcotepottery.com.au
POTTERS EQUIPMENT PTY LTD
Quality supplies and friendly service; A wide range of clays
and colours, kilns, wheels, slab rollers, pugmills, extruders,
all sorts of accessories, materials. glazes and tools.
Shop 13/42 New St, Ringwood VIC 3134
T: 03 9870 7533; F: 03 9847 0793
POTTERS NEEDS
Sound technical advice, kiln repairs and maintenance;
Clayworks', Walker's and Keane's clay; pottery equipment
and tools; delivery to your door; short courses and regular
specialist workshops; friendly personal service.
Potters Needs Gallery, 75 Curtis St. Oberon NSW 2787
1: 02 6336 0411 ; F: 02 63360898; M: 0418982 B37
E: info@pottersneeds.com.au; WNW.pottersneeds.com.au
TETLOW KILNS & FURNACES PTY LTD
One of Australia's most experienced kiln and furnace
manu-facturers; Australia'S largest range with 40 standard
sizes, custom sizes on request; Clean, efficient electric and
gas kilns and furnaces; made in Australia, environmentally
fnendly. 12 George St, Blackburn VIC 3130
T: +61 (0)39877 4188; f : +61 (0)398941974
E: info@tetlow.com.au; WWIN.tetlow.com.au
THE PUG MILL
All underglazes at one low price of $32 .45 per SOOml bollle,
including Bright Rocket Red. We stock over 150 different
coloured Chrysanthos underglazes, one strokes and Cafe
colours as well as a stunning range of Fantasy Crystal Glazes.
An products are lead free and suitable for school use. Please
contact us for a colour chart; 17 A Rose St, Mile End, SA
5031; T: OB 8443 4544; E: pugmill@pugmill.com.au;
W'WW.pugmiU.com.au.
VENCO PRODUCTS
Manufadurers and exporters of high quality pottery
equipment. Venco manufacture a range of pugmills with
output capacities, suitable for schools and studios through
to high capacity industrial units. Venco pottery wheels are
world regarded for quality and reliability.
T: +61 (0)8 93995265; f: +61 (O)B 94971335;
WI/IIVII.venco.com.au
WALKERS CERAMICS
A full range of ceramic supplies - clays, glazes, colours, raw
materials. tools, brushes, equipment, kilns. wheels, books
and kiln furniture. We are manufacturers of Walker Ceramics,
feeneys Clay and Cesco clays, glazes and colours. Go to
our website for full product information including methods
of use, application and faults and remedies, our Pottery &
Ceramic Handbook. Melbourne price list. Canberra price list
and Feeneys Clay price list. At Walker Ceramics and Feeneys
Clay, our aim is to use, from Australian sources, the best
quality raw materials to produce our own range of bodies,
glazes and colours for all aspects of ceramic production.
Walker Ceramics and Feeneys Clay, m 1 Research Drive,
Croydon South VIC 3136; T: 03 8761 6322; F: 038761
6344; Toll free: 1800 692 5291 18oo0ZCLAY; E: sales@
walkerceramics.com.au, orders@Walkerceramics.com.au
www.walkerceramiCS.com.au
WOODROW KILNS
Offering a complete range of electric and gas kilns, all Australian
made; featuring aluminium frame with 10 year warranty,
fibre board lining - up to 60% cheaper to run; easy to
use automatic mUlti-stage controller; failsafe backup circuit;
backed by friendly phone support, after sales service and a 3
year fadory warranty; 1: 02 9790 2717; www.kilns.com.au
GROUPS
CERAMIC STUDY GROUP Inc
Come and join us at one of our monthly meetings where we
invite guest demonstrators covering a range of aspects relating
to clay, Become a member and gain access to our library
offering up-to-date books, magazines and DVOs, plus our
woodfired kiln at Oxford Falls. We publish a monthly newsletter
and we are an ideal forum for experienced potters, as
well as beginners and students wishing to learn more and
network; E: csgsecretary@hotmail.com
WoNIN.ceramicstudygroup.org.au
MOULD /MODEL MAKER
SPECIALIST IN PROTOTYPE AND MOULD·MAKING for
ceramic mass production and artworks. Ceramic design
service also available. Contad Somchai, T: 02 9703 2557
M: 0401 359 126; E: eatandclay@gmail.com
OPPORTUNITIES
8RI81E ISLAND COMMUNITY ARTS CENTRE
Banksias to Beach Arts festival, July 2012
Our biennial Arts Festival is happening once again from
14 -29 July. A list of tutors and timetables is available on our
website. All who participated in our first festival in 2010 had
nothing but praise for this exciting event. For more details,
phone: 07 3408 9288, email: festival@bribieartcentre.com.
au or www.bribieartcentre.com.au
110 THE JOURNAL Of AUSTRALIAN CERAMICS JULY 2012

Classi fieds
TOWNSVILLE CERAMIC AWARDS 2012
Perc Tucker Regional Gallery, 9-2S November 2012
A NEW major acquisitive award of S 1 0,000 is being offered,
bringing the total value of awards to $15,000. Entries in the
2012 Townsville Ceramic Awards will be judged by Janet
Mansfield. Closing date for entries is 8 Odober 2012 . For an
entry form please email: nqldpotters@yahoo.com.au or go
to www.nqpotters.com
W1LDGRAIN HANDMADE GALLERY
Join a growing group of artisans and gain access to more
customers online. The WHG website works like a digital colour
magazine with your website, email, postal address and
phone numbers so customers can contact you direct. Introductory
offer: $250 per year, includes 4 product images and
40 words; contact Phillip on 0417 580658; E: wildgrain@
hotmail.com; www.wildgrainhandmadegallery.com.au
PHOTOGRAPHY
GREG PIPER IMAGING SOLUTIONS
Providing ceramic artists with digital and traditional
photographic imagery, as well as graphic design to print or
electronic media; an Associate AIPP (Australian Institute of
Professional Photographers) with over 30 years experience
in various advertising, corporate and government projects;
previously (for eleven years) inaugural manager of the
photographidmultimedia unit at the Powerhouse Museum in
Sydney; Drummeyne NSW 2047; T: 02 918 1 1188
M: 0411 107744; E: greg@gregpiper.com.au
WoNW.gregpiper.com.au
TONY WEBDALE PHOTOGRAPHY
Northern NSW and OLD
Tony can provide a complete photo imaging service for
studio artists/corporate and or commercial - either on site
or in studio for portrait or process shots, images of finished
work, catalogue, exhibition, context shots; public art.
Tony provides digital files for print, web & screen; Brlsbanebased;
M: 0417 886 185; E: tony.webdale@gmail.com
PLIN THS
PLINTHS MADE TO ORDER
Affordable, designed for structural integrity, lightweight;
also for hire. Roger Fenton, St Ives NSW
T: 02 9488 8628; F: 02 94401212; M : 0417 443 414
WORKSHOPS I SEMINARS
HOT TO POT WORKSHOPS
at Moonshill, Tarago, near Goulburn
29 July. 5 & 12 August 2012 (Sunday mornings): Explorations
in Glaze Formulation; $40 for one class, $70 for any 2;
$95 for ali three. Sun 16 September 2012: Introduction to
Slip Casting: $95, all materials and lunch included; Tues 6 -
Sun 11 November 2012: Creativity is Play, 6-day work.shop
with British potter Sandy Brown; Bookings are essential.
Full details at WWIN.janecrick.netfirms.com or contad Jane,
T: 02 6 161 0806 or E: janecrick@dodo.com.au
AUSTRALIAN GALLERY DIRECTORY
KERRIE LOWE GALLERY
Contemporary Australian ceramics and pottery supplies
located in inner city Sydney. The gallery features functional
ware, vessels, sculpture and jewellery by emerging and
professional ceramic artists; 49-51 King St, Newtown NSW
2042; E: lowekerrie@gmail.com, \I\IVJ\N.kerrielowe.com
SHEPPARTON ART MUSEUM
Shepparton Art Museum is the premier public museum
servicing North Central Victoria and has recently reopened
following a major redevelopment. It is renowned for its
comprehensive collection of Australian ceramics, historical
landscape paintings and works on paper, and its important
collection of contemporary art in aU media; Free Entry; Open
7 days, 10am-4pm; PH. 1-4prn; closed Good Friday and over
Christmas; 70 Welsford St, Shepparton VIC 3630
T: 03 5832 9861; E: art.museum@shepparton.vic.gov.au
www.sheppartonartmuseum.com.au
NATIONAL EDUCATION DIRECTORY
~ CHISHOLM INSTITUTE, VICTORIA
The Diploma of Ceramics is a skills-based course delivered
by specialist staff in a well resourced studio. Studies in
aU aspects of ceramic process and design, and first hand
experience with firing a wide variety of kilns, as well as
diverse arts business strategies, provides students with
a solid foundation from which they can build careers as
independent arts practitioners. Contact Judith Roberts,
T: 03 92125398; E: judith.roberts@chisholm.edu.au
HOLMESGLEN TAFE
Holmesglen Chadstone Campus: Diploma of Ceramics
The scope and vision of our Diploma of Ceramics Course at
Holmesglen is to prepare students for a career in ceramic art.
We provide a professional. well equipped studio environment
and the staff are recognized, practising artists. Our aim
is to inspire individual development and encourage ongoing
levels of inquiry.
Kim Martin, Course Coordinator of Ceramics and Visual Arts
T: 03 9564 1942; www.holmesglen.edu.au
HUNTER TAFE - CREATIVE INDUSTRIES
Newcastle Art School offers a range of flexibly delivered
ceramics programs. All aspects of ceramics are explored
- technical, practical and theoretical. Individual learning
programs, in an open studio environment. are developed for
each student by dedicated staff. The Ceramics Department
has well equipped studios, a gallery and specialist library
on site. The campus is located in the cultural prednd and
is within walking distance of seven galleries. Contact Sue
Stewart. heather.f.stewart@tafe.nsw.edu.au; WWI/II.newcastleartschool
.com.au
TAFE NSW - NORTH COAST INSTITUTE. LISMORE
Certificate, Diploma and Advanced Diploma Courses in
Ceramics. Courses require application.
Enquiries: John Stewart, T: 02 6623 0218
E: john.stewart@tafensw.edu.au
TAFE NSW - NORTHERN SYDNEY INSTITUTE
Hornsby and Northern Beaches College offer accredited
qualifications from Certificate to Advanced Diploma levels as
well as short specialist programs for both the beginner and
advanced ceramicists. For more information,
E: nsi.ceramics@tafensw.edu.au. For general course and
program enquiries call 131 674 or go to
VvV\IW.nsL tafensw.edu .au
TAFE NSW - SYDNEY INSTITUTE, GYMEA
Certificate and Diploma courses in ceramics - full and
part-time attendance; now offering AdVanced Diploma
online. Cor Kingsway and Hotham Road. Gymea NSW
T: 02 9710 5001; f : 029710 5026
WoNW.sit.nsw.edu.aulceramicsigymea
THE JOURNAL OF AUSTRALIAN CERAM ICS JULY 2012 111

ft. E 'n'
.... D
en ~
11:1 -
nn' en
• . ~
B E
,n' m
z
....
• ,n'
' _.
CD
~
= m
en •. __
:li en
:= =
a m
=- -
'n'
ill
z
AUSTRALIAN
CERAMICS
The Australian Ceramics Association
AUod8IIOn
Journal
In 1956. The Potters Society of Australia was formed to encourage and foster the dev,
was the first ceramics organisation in Australia. In 2006, our name was changed to Th
scope of practice of the members. We are a national. not-for-profit organisation repres
students of ceramics and all those interested in Australian ceramics. We actively supp
nationally.
Association
AUSTRAJAN
CERAMICS
Shop
~
.......
-'
-..:::::
~
=.l
----'
=.l
!!)
Joumal
ADDRESS:
PO Box 274
Directc
NEWS
Pfeslden
~ ceramic
NSW2024_
-.
E-mail:
mailCaumalianceramics.com
The Trod
Scholars
TeCepIlone:
1300 120 124 Ceramic
LiSted In
Fax:
+612 9J69 3142
ld!!Jli!;I »

quality pottery supplies and services
Norfhcote Pottery Supplies Pty Ltd
142 - 144 Weston Street
Brunswick East 3057
(PH) 0393873911
www.northcotepottery.com.ou

woodrow
kilns
Helping you produce Beautiful Ceramics, Pottery and Glass for over 40 years
A Complete Range of
Electric and Gas Kilns:
• Aluminium Frame/Case with 10 Year Warranty
• Fiber Board Lining - Up to 60% cheaper to run
• Variable Pitch Elements for Even Chamber Temp
• Easy to Use Automatic Multi-stage Controller
• Failsafe Backup Circuit and Door Switch
• All Kilns can Fire to 1280C
• Failsafe Backup Circuit and Door Switch
• Kanthal A 1 Elements and r28 Brick Floor
• Light Weight - Easy to Install and Move
• Locking Controller Cover for all School Kilns
Backed By:
• Phone Support and after Sales Service
• Recommended Firing Schedule with Wall Chart
• 3 Year Factory Warranty, 10 Year for F rclml~/C:ase ;
Under New Management
We are pleased to announce that after working as Sales &
Operation Manager for the past 3 years, Adam Crozier has taken
over the ownership of Woodrow Kilns.
We can now proudly offer both a fresh faced management team
back by our Technical staff with well over 50 years of combined
hands on experience.
114 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

---------------------------
Ceramic Design Studio
www.sit.nsw.edu.au/ceramics/gymea
Why not enquire about ournew Master Classes!
Studio-based courses
Full and part-time
Wheelwork Tableware
Handbuilding Sculpture
Contemporary Installation
Mouldmaking & Casting
Decorating Techniques
Glaze & Kiln Technology
Raku & Woodfiring
CERAMIC
DESIGN
UDIO
Image: Nicky Parras
Photography: Silversalt Photography
CnrThe Kingsway & Hotham Road
Gymea NSW 2227
Tel: (02) 9710 5001 Fax: (02) 9710 5026
Catherine.Fogarty@det.nsw.edu.au
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 115

Ccr:le:bfotlno ~ yeor. of the: NO PoHcr:rs' Alsn Inc
TOWNSVILLE CERAMIC AWARDS
At Perc Tucker ReQlonol Callery, 9-25 Nov 20 12
$ \ 0,000
ACQUISITIVE
WARD
Entrie, ore Invited to the Townsville Open Award,
Judged by Janet Mansfleld
ClosinQ dote for entries, 8 October 2012
Entry forms available from
North Queensland Potten' Assn Inc
PO Box 5033. Townsville. QId 4810
e, nqldp0ttenfPY8hoo,com,au
t , (07) 477 1 5044 (07) 4724 3827
www.nqpoUers.com
.. ~
116 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

The Decal Award
An acquisitive prize based on
technical skill in both drawing and the
manufacture of the ceramic form
DECAL
CERAMICS
VICTORIA INC.
Mission Statement
The Decal Specialists & Ceramics Victoria Inc. are delighted
to launch thjs award that recognises the diversity and
skill in the produdion of original studio ceramic work.
The aim of this prize is to nurture, support & celebrate
new ceramic design and production within the variety of
forming methods. The challenge of marrying drawn designs
with ceramic form, either wheel produced or hand built
addresses innovative creativity. Further tbe conversion of
original drawing to decals expands the concept of purposeful
aesthetic deSign.
Exhibition Date
October 2012
F"··f·
CIIY'
• ~R
a.'P Glaz., Cotows
Cesco _.-...
CLAYWORKS
Entries Close
September 14th at 5:00 p.m .
Enquiries: Office Co-Ordinator
Phone: 03 9899 2777
Email ceramicsvic@optusnet.com.au
Categories
Decal Award:
Acquisitive Prize for CV Inc. Permanent Collection $2.000
Manufaduren Awards:
Clayworks Award $300 Clay voucher
Walkers Award $300 Clay voucher.
Northcole Pottery $300 Clay Voucher
Regional Award: Potters Equipment $300 cheque
Judges
A panel of 3 judges with experience and expertise in drawing
and clay methodology will be announced in the near future.
Preselection will only take place if numbers of applications is
excessive.
Entry Forms & Conditions of Entry available to download
from the Ceramics Victoria website
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 117

Specialist ceramics
training facilities
TAFE NSW - Northern Sydney Institute
Beginners and
professional
ceramicists
are welcome
Come and train in some of
Australia's most outstanding
ceramics training facilities
featuring the latest
professional equipment and
spacious, natural light-filled
design studios.
Both colleges offer fast-track
specialist programs and a full
range of nationally accredited
qualifications which are
available part-time, full-time,
day or evening.
The f acilities include:
> Raku kilns
> natural gas and LPG kilns
> electric kilns
> wood fired kilns
> an extra large trolley kiln for sculptural work
Courses include:
> Nationally accredited qualifications
Certificate level III, IV, Diploma and Advanced Diploma
> NSf's open studio practice provides access to the NSf studios
and facilities so you can improve your skills by developing
your own work.
Hornsby College
205 Pacific Highway, Hornsby NSW 2077
Northern Beaches College
154 Old Pittwater Road, Brookvale NSW 2100
For more information about the ceramics training facilities
and services available, email: nsi.ceramics@tafensw.edu.au
For general course and program enquiries:
Call 131 674 or go to www.nsi.taf ensw.edu.au
lI8 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

Holmesglen
[ERAMI[S
.... _ , lii0i10 _lIonoI" ......­
NOW OFFERING
IN 2012
!.lEAl IllPlIllUHflY1U USE fMAl flOlll1ES
Willi _AllV£ STAff
F« men infoo'nalion contact
JohnS_rt
Head T_ Creative Industries Faculty
0266230218
jOhn.stewart@tafensw.edu.au
THE IOUR NAl OF AUSTRALIAN CERAMICS IUlY 2012 119

--
BARBARA CAUVIN
TASMANIAN TRACES
An exhibition presenting new watercolours
and a collection of retrospective ceramics
8TH - 18TH NOVEMBER 2012
SIDESPACE GALLERY
Salamanca Arts Centre
Level 1f77 Salamanca Place. Hobart. Tasmania
OPEN DAILY: 10.30AM - 4.30PM
Contact: 0409 449 238
Ceramic vesset hand coiled
and sculpted form, stoneware
z"o
Z-CARD
ECHO: 25 JULY - 18 AUGUST 2012
WENDY FAIRCLOUGH + HONOR FREEMAN
sab b
a gallery
wwwsabblagalterycom 120 Glenmorc Road Padcllngton Sydney NSW 2021 AUSTRALIA
Ph *61 '29361 6448 ema)1 gallmy@sabblagallery com Tue~ Fn 11am to 6prn Sat 11

Potters Cottage:
A Tribute
Launching the new
Manningham Art Gallery
September - October 2012
A collection of exemplary and rarely seen ceramic
works by the founders of the Potters Cottage in
Warrandyte and those who carried its legacy into
the 21 st Century.
CurfJ-ted by Grace Cochrane.
.
,,,,,,.,,,.
Imoye SyNia Halpem, BIrd with ¥et>nd !calho' In Iilli. c, 1995 .
3Ih31l!25cm
M3MnghBm PublIc M Coi8:IIOn
Manmngham Art GaUer\} GaUer\) Hours Contact Us
, , " ,t P )~'
, ~ ) , e ,
r I,
P
MANNINGI-IAM
Mea
Manningham
wwwmanntngham.vlc gOY au gallery
Art Gallery
Kiln repairs. maintenance and
restoration by Ian Theyers.
a licensed industrial electrician
Sound technica l advice
Friendly personal service
Wonderful range of days­
Clayworks. Walkers and Keanes
Pottery equipment and tools
Short pottery courses
Regular specialist workshops
New exh ibition space-
Potters Needs Gallery
Delivery to your door
Potters Needs is operated by
Victoria and Ian Theyers
Potters
Needs
~~ ....... -' "~"1
:- ' : -", ~ -., ,,- " ,
~'.- _ .. _J ~~.; " l~~:::--~~:~£r ~ . ~
tao' _."'_
~""·'ut.6· f....i6.~
0 _ ,
t,"VO' ........ -~:t!...~ .... J
•
>1
f ~ - ....... ___ 3.. _ r-J. ~ ..'" ::::'f..:-.!"

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

CLAYWORKS
fI- . - . 1=- ....._ ..._.__
,---
ra
f!:I
CLAYWORKS J'01TERS SUPPLY PTY LTD
ABN 17 006 (ITT 454
6 _ Court 1Jondcnon, VIC 317S A-.Jia
T: 03 9791 6749 P: 03 9792 4476
E: .laywwb@dayw.......-....
www.cla,..............
Join The Australian Ceramics Association
Facebook page here:
http://tinyurl.com/tacafacebook
CJ Like
COLOURS Rockwood Pigments, Cesco,
Walker Ceramics, Clayworks, Deco,
Chrysanthos CLAYS Bendigo, Bennetts,
Blackwattle, Clayworks, Feeneys, Keanes,
Northcote, Walkers EQUIPMENT
wheels, slab rollers,
ACCESSORIES Brushes, corks,
kiln shelves, etc MATERIALS
and more GLAZES Powder and liq
Clay tools, Kemper, Giffin Grip and
NEW - Limited supply of Duncan UfU'UUI" L
124 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

NEW No.3
full-sized er2onomic action pedal
1/2hp motor. 13" wheelhead
0 ,' -
.,
venco
\NVVVV v(~r'cu cnr-rl ; tU
NEW No.3
stainless steel body option
clip-on work tables and seat also available
----- - - -- - - -
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 125

I C
Pump up the volume on colour! 18 sumptuous colour options to choose from. Add them to
slip, glaze and clay. Below images are a mix of 6gms of stain to 1 DDml of slip.
New and exciting Mudtools in stock now ... More on the way so be sure to keep your eye on
our website or Facebook page. New Mudtools info being posted soon!
DRAG TOOL
$25.15
Designed to flute leather hard clay.
Its tapered design and bevelled
"scoops" easily whisk away fluted scrap.
RESIN PLATTER RIBS
$20.25 SP. $23.15 LP
Long resin ribs with a gradual curve,
perfect for plates and platters.
Available in firm (army green).
Size SP: 190mm

'.'
."
'.
'.
Learning About Oneself by
Doodling in Clay
A two-day workshop with
Sandy Brown, UK ceramic artist
Sat 27 + Sun 28 October 2012
Workshop Arts Centre, 33 Laurel Street
Willoughby NSW 2068
$340 per person + materials
($320 members of TACA + materials)
www,shannongatson.c.om
Under the Surface:
creativity and mark making
A two-day workshop with
Shannon Garson, QLD ceramic artist
Sat 4 + Sun 5 August 2012
Maleny Arts & Crafts Group
38 Maple St, Maleny QLD
$290 per person ($270 members of TACA)
For further information and bookings: The Australian Ceramics Association
T: 1300 720 124 F: 02 9369 3742 E: mail@australianceramics.com www.australianceramics.com
The Australian Ceramic
Association
announces its 2012
members' exhibition
Members are invited to make
a vase to celebrate the 50th anniversary of
The Journal of Australian Ceramics
28 September - 1 October 2012
Australian Ceramics Triennale
Adelaide. South Australia
Members must complete an Expression of Interest
Form (available on www.australianceramics.com)
and submit it to The Australian Ceramics
Association by 31 July 2012.
The Australian Ceramics Association
PO Box 274 Waverley NSW 2024
T: 1300 120 124; F: 02 9369 3742
E: maiiOaustralianceramics.com
www.australianceramics.com
THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 127

Trudie Alfred

Feeneys
Clays
WALKER
~
Clays Glazes Colours
Cesca
Glazes & Colours
Greg Daly, First Light, 201" lustre·glazed earthenware
dram ncm, d 7cm: photo Stua,t Hay
Service and Supplies
03 8761 6322 1800 692 529
sales@walkerceramics.com.au
www.wJlkcrC.crJml(..:..com.au