The Journal of Australian Ceramics Vol 51 No 2 July 2012

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