The Journal of Australian Ceramics Vol 51 No 3 November 2012

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



<strong>51</strong>3 <strong>No</strong>vember <strong>2012</strong> $16<br />

Focus: Technical<br />

Les Blakebrough<br />

Akio Takamori<br />

Masamichi Yoshikawa

Clean Efficient<br />

Electric & Gas Kilns<br />

and Furnaces<br />

+ Environmentally friendly<br />

+ Low density hot face<br />

insulating brick (fibre free)<br />

+ Economical to operate<br />

+ Made in Australia<br />

exported worldwide<br />

+ One <strong>of</strong> Australia's most<br />

experienced kiln and furnace<br />

manufacturers<br />

+ Australia's largest range<br />

with 40 standard sizes<br />

custom sizes on request<br />

+ Over 40 years experience<br />

established 1963<br />

+ Over 20,000 kilns and<br />

furnaces now In use<br />

+ Fast Iring to 13OO"C

Conten ts<br />

<strong>Vol</strong>ume S13<br />

<strong>No</strong>vember <strong>2012</strong><br />

<strong>51</strong>6<br />

CO .... er<br />

IllustratIOn by<br />

Hugo Muecke<br />

www.hugomuec.ke.com<br />

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

Dates <strong>of</strong> PubhcallOn<br />

1 April, 17 July. 20 <strong>No</strong>vember<br />

Publisher<br />

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

PO Bolt 274 Wavefley NSW 2024<br />

T. 1300 720 124<br />

F: 02 9369 3742<br />

mailOaustrallc1nc::eramlCS.com<br />

Y'JW"N.c1ustralianc:eramKS.com<br />

ABN 14 001 S3S 502<br />

IS5N 1449-27SX<br />

Editor<br />

VIC~' Grima<br />

WNW.VlCklgrima.com.au<br />

Marketing and Promotions<br />

Carol Fraczek<br />

Design<br />

Astnd Wehling<br />

1NWW.a5uidwehling.rom.au<br />

Subscriptions Manager<br />

Ashley McHutchlSOn<br />

www.ashleyfiond.c.om<br />

Editorial Assistant<br />

Ehsa Bartels<br />

www.elisabartels.com<br />

Pro<strong>of</strong>reader. content<br />

Suzanne Dean<br />

Australia Wide Reports<br />

Pfease see reports<br />

lor contact details<br />

ACT; Jane Crick<br />

NSW; Sue Ste'oNart<br />

OLD South East. lyn Rogers<br />

SA: Sophia Phillips<br />

lAS: John Watson<br />

VJC: Glenn England<br />

WA: Elaine Bradley<br />

Printed by<br />

Newstyte Pnnting Co Pty ltd<br />

41 Manchester <strong>51</strong>. Mile End SA<br />

5031 certified to A5/N15 ISO<br />

14001 :2004 EfMronmental<br />

Management Systems. Printed on<br />

Monza Satrn (FSC) stock using<br />

100% ""9Otable-ba5ed<br />

process ink5.<br />



4 NOW + THEN<br />




<strong>The</strong> <strong>2012</strong> Sidney Myer Fund <strong>Australian</strong> Ceramic Award<br />

Alexandra Standen climbing a few ladders<br />


14 Les Blakebrough by Jan Howlin<br />

23 A Slow Boat to China Cory Taylor chronicles Shin Koyama's passion for<br />

porcelain painting in China and Japan<br />

28 Niharika Hukku<br />

30 Paper, Clay, Water, Rock Julie Claessens writes about the art practice <strong>of</strong><br />

her mother, Barbara Cauvin<br />


34 Flow and Twist Chris Weaver on tools<br />

38 A Different Approach to Slab Building Kevin Grealy shares his discoveries<br />

44 What haven't you been doing w ith paper clay? Graham Hay on the<br />

'dipstick' method<br />

48 Workshop with Akio Takamori Alison Smiles reports from Adelaide<br />

54 Web Places A collection <strong>of</strong> useful technical websites gathered by<br />

Emily Byrne<br />


56 Ceramix Australia Rohan Udgard shares his passion for pottery<br />


60 VIEW: <strong>2012</strong> Cicely & Colin Rigg Contemporary Design Award<br />

62 EVENT 1: Think Up and t he Form Will Follow Susan Frost reports on the<br />

masterclass with Masamichi Yoshikawa<br />

67 EVENT 2: Subversive Clay Photo Gallery<br />

70 COMMUNITY: Tiddas and Bunjies (Brothers and Sisters) A ceramics<br />

workshop helps Bankstown Koori Elders connect w ith their culture<br />

75 CERAMICS+: <strong>The</strong> Moon Project Park Young-Sook and Yeesookyung and<br />

their collaborative work in Sydney<br />

79 UP THE WRITING PATH: <strong>The</strong>re is <strong>No</strong> Still in Real lif e Pru Morrison shares<br />

the outcome <strong>of</strong> her participation in Owen Rye's creative writing course<br />

84 WEDGE: Neville French<br />

85 CERAMIC SHOTS: Hands as Tools photographic competition<br />

88 STUDIO: Take Two Bowls Natalie Velthuyzen outlines a simple technique<br />

90 WORKSHOP: Winter Workshop on t he Sunshine Coast<br />

92 JOIN THE POTS: from the JAC archives, Les Blakebrough<br />

94 TRADE: To Sell or <strong>No</strong>t to Sell (that is the question) Potters discuss their<br />

experiences with online selling<br />

96 EDUCATION: <strong>The</strong> Rainbow Fountain Adrienne Mann writes about the<br />

Artist in School program at Monash Special Developmental School<br />

98 ARTIST IN RESIDENCE: Miki Oka Brings a Japanese Touch to <strong>Ceramics</strong><br />

Classes in the Centre Patrick Nelson reports on Charles Darwin University's<br />

latest resident artist<br />

99 COLLECTION 1: Esa Jaske<br />

102 COLLECTION 2: Emile Galle: artist, activist, herborist, ecologist<br />

Patsy Hely discusses a favourite work from the ceramics collection at the NGA<br />


106 AUSTRALIA WIDE: State Representative Reports<br />


Editorial<br />

Cutting the cake for <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong><br />

<strong>Ceramics</strong> 50th Anniversary celebration at the<br />

Queen 's <strong>The</strong>atre in Adelaide during the recent<br />

Subversive Clay gathering: left to right. Patsy Hely<br />

(President <strong>of</strong> <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association),<br />

Vicki Grima (current Editor). Sue Buckle (Editor<br />

1991- 2000) and Trisha Dean (Editor 2001 - 2005).<br />

It has been a busy and exci ting. although at times harrowing. time in the <strong>Australian</strong> ceramics community<br />

over the last few months. Several hundred gathered in Adelaide for Subversive Clay to catch up with<br />

the latest musings about ceramics. Congratulations to the team who managed the Triennale. <strong>The</strong>ir<br />

commitment to making the event a rich experience was appreciated by all who involved themselves<br />

in the breadth <strong>of</strong> activities on <strong>of</strong>fer. I hope you enjoy the two Masterclass reports by young emerging<br />

ceramic artists from Adelaide, Alison Smiles and Susan Frost. <strong>The</strong>ir enthusiasm for their recent<br />

experiences comes through loud and clear.<br />

Of continuing concern to many in the ceramics communities around Australia are the ongoing cuts to<br />

arts education in many sectors <strong>of</strong> tertiary arts education. Recent comments to me have included phrases<br />

such as "our enrolments are dead in the water" to "the most challenging changes we have faced in<br />

decades" ... not surprising when we are told fees for some accredited courses will increase by 400%.<br />

<strong>The</strong>re is no easy solution, so we are seeing some creative problem solving in those institutions that have<br />

retained support from their management team.<br />

If you love reading comprehensive yet precise pr<strong>of</strong>iles on potters, I'm sure you will enjoy Jan Howlin's<br />

pr<strong>of</strong>ile on Les Blakebrough, the third in her series for our 50th Anniversary year <strong>of</strong> <strong>The</strong> <strong>Journal</strong> <strong>of</strong><br />

<strong>Australian</strong> <strong>Ceramics</strong>. This issue's focus on the technical side <strong>of</strong> ceramics also brings you an interesting<br />

collection <strong>of</strong> articles on toolmaking, slab building, paperclay and selling online. <strong>The</strong> challenge to keep<br />

content relevant to our readers is a priority, so your feedback is always welcome.<br />

And don't forget to check out our web articles on the home page <strong>of</strong> www.australianceramics.com or<br />

browse your digital online issue <strong>of</strong> the maga2ine. If you subscribe to the print issue, around publication<br />

time you will receive an email with a link to your digital issue. <strong>The</strong>re you will find many extras with direct<br />

links to websites and online content. We have exciting ideas for developing this side <strong>of</strong> <strong>The</strong> <strong>Journal</strong><br />

in 2013, with our focus issues on <strong>Ceramics</strong> in New Zealand, studio ceramics around Australia (with<br />

our Open Studio event - see page 127), and <strong>Ceramics</strong> and Ecology under the guest editorship <strong>of</strong> Julie<br />

Bartholomew.<br />

Stay connected with others in your ceramics community and keep pushing for better ceramics<br />

education nationally!<br />


Contributors<br />

Susan Frost completed an Associateship at<br />

JamFactory in 2010 and continues to work from<br />

her studio there. She's slightly obsessed with<br />

social media. but when she is not keeping up<br />

with her Twitter feed or maintaining her Pinterest<br />

boards, Susan divides her time between making<br />

production vessels and pursuing her interest in<br />

colour and form.<br />

www.susanfrostceramics.com<br />

www.twitter.com/Susan_Frost<br />

www.pinterestlsusanf/<br />

Jan Howlin<br />

I was a writer in 2003 when I picked up clay<br />

and couldn't put it down. That led me to Sydney<br />

College <strong>of</strong> the Arts, which released me in 2010<br />

with a Master <strong>of</strong> Fine Arts, and to an ongoing<br />

search for the way meaning can be embedded in<br />

form by pushing clay around, which is excellent<br />

fun anyway.<br />

E: jan@janhowlin.net<br />

Hugo Muecke is an artist and illustrator<br />

currently living in Sydney, Australia. He has<br />

studied in Mexico and Japan and it is the small<br />

details <strong>of</strong> everyday life that inform his practice.<br />

He is happiest when he is drawing.<br />

E: hugoblackmuecke@gmail.com<br />

www.hugomuecke.com<br />

A lison Smiles<br />

I began making things out <strong>of</strong> clay after years<br />

<strong>of</strong> drawing and printmaking. It has been a<br />

revelation . Being able to bring my drawings to<br />

life means I can create an imaginary world and<br />

share it with everyone. It has been the best job<br />

ever so far, and ceramicists are some <strong>of</strong> the<br />

loveliest people I have met.<br />

E: alison.smiles008@gmail.com<br />

M: 0430 271 222<br />

http://alisonsmiles.carbonmade.com<br />


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

This year marks the 30th anniversary <strong>of</strong> the<br />

Inner City Clayworkers Gallery. We think this<br />

is a pretty good milestone; fancy still being here I<br />

As a co-operative, the Gallery has had many<br />

lives during this time. It is rather like Grandad's<br />

axe - two new handles and four new axe heads,<br />

but it is still Grandad's axe. <strong>The</strong> members have<br />

come and gone, and the work has also changed<br />

according to fashions in ceramics, but the Gallery<br />

keeps on. An exhibition featuring many wellknown<br />

names in the ceramics field, all <strong>of</strong> whom<br />

have been members <strong>of</strong> Clayworkers, will be held<br />

in <strong>No</strong>vember <strong>2012</strong>; www.clayworkers.com.au<br />

Announcing On the Edge <strong>of</strong> the Sheff,<br />

a woodfire gathering to be held 25 April -<br />

25 May 2014 at Mystery Bay in NSW.<br />

A website is coming soon. <strong>The</strong> co-ordinator is<br />

Daniel Lafferty; T: 02 6493 6724.<br />

John Tuckwell, Carol Forster, and Tatiana<br />

Gvozdetskaya have been selected in the<br />

Ceramica Multiplex exhibition at the Fourth<br />

International Festival <strong>of</strong> Postmodern <strong>Ceramics</strong> to<br />

be held in Croatia from 25 August to 31 Odober<br />

<strong>2012</strong>, and then Kapfenberg, Austria, from 16<br />

<strong>No</strong>vember <strong>2012</strong> until 6 January 2013. More<br />

than four hundred artists from around the world<br />

submitted work for the exhibition.<br />

Websites to check out:<br />

http://pinterest.com!caroleepp/<br />

technical-ceramics<br />

http://wikiclay.com<br />

Interested in when pottery was invented?<br />

On 3 July <strong>2012</strong> on the <strong>Australian</strong> <strong>Ceramics</strong><br />

Email Discussion List, Owen Rye brought to our<br />

attention this brief abstrad, which suggests that<br />

the ea rliest pottery vessels were made in China<br />

20,000 years ago.<br />

Early Pottery at 20,000 Years Ago in Xianrendong<br />

Cave, China -<br />

Abstrad: <strong>The</strong> invention <strong>of</strong> pottery introduced<br />

fundamental shifts in human subsistence<br />

practices and sociosymbolic behaviours. Here,<br />

w e describe the dating <strong>of</strong> the early pottery f rom<br />

Xianrendong Cave, j iangxi Province, China, and<br />

the micromorphology <strong>of</strong> the stratigraphic contexts<br />

<strong>of</strong> the pottery sherds and radiocarbon samples.<br />

<strong>The</strong> radiocarbon ages <strong>of</strong> the archaeological<br />

contexts <strong>of</strong> the earliest sherds are 20,000 to 19,000<br />

calendar years before the present 2000 to 3000<br />

years older than other pottery found in East<br />

Asia and elsewhere. <strong>The</strong> occupations in the cave<br />

demonstrate that pottery was produced by mobile<br />

foragers who hunted and gathered during the Late<br />

Glacial Maximum. <strong>The</strong>se vessels may have served as<br />

cooking devices. <strong>The</strong> early date shows that pottery<br />

was first made and used 10 millennia or more<br />

before the emergence <strong>of</strong> agriculture.<br />

To join the <strong>Australian</strong> <strong>Ceramics</strong> Email<br />

Discussion List, please visit<br />

www.australianceramics.com.click on<br />

'conned + chat' and follow the instrudions.<br />

Two new books on t he TACA <strong>of</strong>fice desk:<br />

Lust re by Greg Daly; <strong>Ceramics</strong> Handbook Series,<br />

$36.99, 128 pages, paperback; A & C Black,<br />

<strong>2012</strong>; ISBN 9781 408103760<br />

Lucie Rie: Modernist Potter by Emmanuel<br />

Cooper; <strong>The</strong> Paul Mellon Centre for Studies in<br />

British Art, approx. $50, 384 pages, hardback;<br />

Yale University Press, ISBN 9780300152005<br />

Photo:<br />

Lucille <strong>No</strong>ble2a<br />

Refer to this webpage, www.sciencemag.org/<br />

contentl336/6089/ 1696.abstract, which refers<br />

to an article in the journal Science,<br />

www.sciencemag.org; Science 29 June <strong>2012</strong>;<br />

<strong>Vol</strong>. 336 no. 6089 pp. 1696-1700.<br />


All things digital<br />

Come look!<br />

Try the OR Codes shown below to visit our Flickr image folders,<br />

feature articles and online shop.<br />

A QR (Quick Response) code enables you to view and bookmark a web page using your digital device.<br />

Download a QR reader app to your smart phonelipaditablet, open the app, point it at the patterned<br />

squares below and your device w ill scan the QR code. You will then be taken directly to the chosen<br />

web page.<br />

<strong>The</strong> 50th<br />

Anniversary<br />

Vase Show<br />

Subversive Clay<br />

<strong>The</strong> <strong>Australian</strong><br />

<strong>Ceramics</strong> Triennale<br />

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

JAC Web feature<br />

Articles, Issue <strong>51</strong>/3<br />

<strong>No</strong>vember <strong>2012</strong><br />

<strong>Australian</strong><br />

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

Online Shop<br />

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

at www.austraUanceramlcs.com<br />

from the National Art School we publish an article by Stephen Bird about a collaborative exhibition,<br />

Ink Earth, featuring work by ceramic and printmaking 3rd year BFA students.<br />

Karen Weiss reports on Vipoo Srivilasa and his recent community project, Thai-Na-Town - Little<br />

Oz, part <strong>of</strong> 'Mapping Chinatown', initiated by Sydney's 4A Centre for Contemporary Asian Art to<br />

explore the different minority Asian cultures whose vibrant presence is changing the face <strong>of</strong> the original<br />

Chinatown.<br />

Sophia Phillips shares her thoughts about the exhibition Post Skangaroovian (held during the <strong>2012</strong><br />

<strong>Australian</strong> <strong>Ceramics</strong> Triennale) and the potential legacy <strong>of</strong> Skangaroovian Funk, a peculiarly South<br />

<strong>Australian</strong> reaction against a predominantly Orientalist philosophy and aesthetic in ceramics during the<br />

nineteen sixties and seventies.<br />



·<br />

)<br />

' - -<br />

. 01<br />


Award Feature<br />

<strong>The</strong> <strong>2012</strong> Sidney Myer Fund<br />

<strong>Australian</strong> Ceramic Award<br />

Alexandra Standen climbing a few ladders<br />

Shepparton Art Museum (SAM) recently announced the winners <strong>of</strong> the <strong>2012</strong> Sidney Myer Fund<br />

<strong>Australian</strong> Ceramic Award. With a combined prize pool <strong>of</strong> $55,000, the biennial award is one <strong>of</strong> the<br />

premier international ceramic art prizes.<br />

Congratulation to the <strong>2012</strong> recipients:<br />

<strong>Australian</strong> Category - Kirsten Coelho<br />

Emerging <strong>Australian</strong> Category - Alexandra Standen<br />

International Category - Michal Fargo (Israel)<br />

<strong>The</strong>se three recipients were selected from the following shortlisted artists:<br />

<strong>Australian</strong> - Kirsten Coelho, Katherine Huang, Penny Byrne, Angela Va lamanesh, Irianna Kanellopoulou<br />

and Kris Coad<br />

Emerging <strong>Australian</strong> - Arun Sharma, Antonia Throsby, Robyn Hoskins, Alexandra Standen and<br />

Ingrid Tufts<br />

International - Cheryl Ann Thomas (USA), Michal Fargo (Israel), Suzanne Wolfe (USA), Oliwia Beszcyska<br />

(Poland) and Wee Hong Ling (USA)<br />

<strong>The</strong> ca libre <strong>of</strong> submissions, the technical expression and the considered statements provided by<br />

artists was commendable. <strong>The</strong> new format <strong>of</strong> the award presents a different challenge, requiring<br />

artists to conceive and present a whole exhibition rather than just one work. SAM appreciates the<br />

considerable effort undertaken by artists through the process <strong>of</strong> application. Each <strong>of</strong> the winning artists<br />

was commissioned to produce an exhibition <strong>of</strong> new work for display at SAM from 20 September to 18<br />

<strong>No</strong>vember 20 12.<br />

Below is an interview by Elise Routledge, Curator, Shepparton Art Museum with Alexandra Standen,<br />

winner <strong>of</strong> the Emerging <strong>Australian</strong> Category.<br />

Elise Routledge: Your work is inspired by Italo Calvino's 1965 short story <strong>The</strong> Distance <strong>of</strong> the Moon,<br />

and explores different ways to create a narrative through objects, insta llation and your animation. Can<br />

you tell me about how you've considered or used narrative in your work?<br />

Alexandra Standen: I have always thought that objects tell a story whether they are functional or<br />

scu lptural. This work, inspired by Italo Calvino, was based on a written story but I also found it was hard<br />

not to imbed my own story in the ladders. Central to this process is identifying and capturing an essence<br />

<strong>of</strong> life in objects. <strong>The</strong> way that they, too, can draw breath, hold volume and space, speak <strong>of</strong> energy and<br />

emotion, all <strong>of</strong> which I believe is an essentia l part <strong>of</strong> what it means to be human.<br />

My experiences and reactions to new environments or landscapes became a vital part <strong>of</strong> the story as I<br />

travelled between the city and country and, briefly, central Australia. <strong>The</strong> story has evolved through these<br />

experiences as well as the making processes.<br />


Alexandra Standen, <strong>The</strong> Other Moon, detail. 2011/12; photo: Matthew Stanton<br />

<strong>The</strong> creation <strong>of</strong> the stop motion animation was a way <strong>of</strong> translating this story into something that<br />

sat alongside the installation in harmony. I constructed a narrative around my environments and the<br />

installation set out to create a whole-body experience, to be immersed in the beauty <strong>of</strong> the placement<br />

<strong>of</strong> objects as well as the beauty and strength <strong>of</strong> each piece. <strong>The</strong> ladder constructions lend themselves to<br />

wall installation and produce a greater depth when slightly suspended away from the wall, casting lines<br />

<strong>of</strong> shadow behind them. As in Calvino's story, there are two worlds; the world that one chooses to be<br />

immersed in is initially up to the individual.<br />

ER: Space is a key idea used in your work. Can you tell me about the recent experiences you've had<br />

around space and environments that has inspired this work?<br />

AS: I was fortunate enough to experience ten weeks <strong>of</strong> remote central <strong>Australian</strong> landscapes this year.<br />

While I had not considered this in my initial proposal for Shepparton, I found as I spent more and time<br />

making the work, and trying to unpack what it means to me, that there was a narrative in the spaces or<br />

environments I encountered,<br />

<strong>No</strong>t only is Calvino's tale beautiful and wistful, it is about going beyond the world itself and finding a<br />

reverence for the natural world that promotes a spiritual experience, Calvino's story has had a pr<strong>of</strong>ound<br />

influence on my ceramics as I have tried to come to terms with the landscape or space in which I exist.<br />

After reading this story I began to see ladders everywhere in my day-to-day life, drawing me into an<br />

enchanted landscape, leading my eye up into the sky or into a secluded nook in between buildings.<br />

<strong>The</strong>re is a connection with a sacred or spiritual experience <strong>of</strong> space and the relationship <strong>of</strong> the self to<br />

the other.<br />

Ever present in this body <strong>of</strong> work is the feeling <strong>of</strong> being trapped and needing a form <strong>of</strong> escape or a<br />

means <strong>of</strong> climbing up to see things from a different perspective. <strong>The</strong> city is an immense and complex<br />

landscape, which one can be suffocated by. <strong>The</strong> ladders are a reaction to this feeling and tie into a need<br />

for escape, to find a moon <strong>of</strong> my own where I can sit for just a little while and dream, Or at least to<br />

emerge above the clouds and see clarity.<br />

To create this feeling, for the viewer, <strong>of</strong> being pulled into the life <strong>of</strong> the objects, the installation and<br />

the use <strong>of</strong> spaces become paramount.<br />


ER: Your objects are very simply constructed objects, and the<br />

stop-frame also has a delightful DIY aesthetic. What are the<br />

most important aspects <strong>of</strong> process and making for you?<br />

AS: Intuitively I use my hands a lot while making, using my<br />

fingertips to pinch out the form I want. As a reaction to the<br />

simple beauty <strong>of</strong> Calvino's story and the playfulness in his<br />

words, I made ladders and boats that had a simple, olde<br />

worlde quality, unpolished and unrefined. I liked the idea <strong>of</strong><br />

producing objects that would usually be manufactured with<br />

straight edges and making them organic.<br />

When I decided to make a film based on the ladders it<br />

Alexandra Standen<br />

seemed fitting to use a stop motion animation technique.<br />

Each frame <strong>of</strong> the stop motion is a bit jumpy and a little bit wonky, but it reflected the hand-made and<br />

the very human quality <strong>of</strong> touch. Working with the stop frame idea was a little bit like looking into the<br />

mechanics <strong>of</strong> a very old clockwork machine, simple parts that just seem to work organically.<br />

<strong>The</strong> importance <strong>of</strong> the materiality in my making process has allowed me to play with the idea <strong>of</strong><br />

narrative and reflect the simple beauty <strong>of</strong> Calvino's stories. I have made decisions to leave a human<br />

imprint on a material so natural and archaic.<br />

www.sheppartonartmuseum.com.au<br />

http://blogs.cv.vic.gov.au/australian-ceram ic -awa rd<br />

1 Kirsten Coelho<br />

Toward the end <strong>of</strong> the day<br />

<strong>2012</strong>, porcelain, pale grey<br />

white and iron OXide glazes<br />

various dimensions<br />

2 M ichal Fargo. Else, detail,<br />

2011112, porcelain. mixed<br />

technique. vanous dimensions<br />

3 (left to right)<br />

Michal Fargo. Kirsten Coelho.<br />

Alexandra Standen<br />

Photos: Matthew Stanton

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

Les Blakebrough<br />

by Jan Howlin<br />

"<strong>The</strong>y wanted someone who could get things done,"<br />

In his new home in Coledale, south <strong>of</strong> Sydney, Les Blakebrough lives in the shadow, and under the<br />

thrall, <strong>of</strong> the majestic sandstone escarpment that rises sharply from the narrow strip <strong>of</strong> coastal land<br />

beside the Pacific Ocean. Its presence has seeped into Blakebrough's psyche and has emerged through<br />

it onto his pots. While the imagery is new, the process <strong>of</strong> ingesting his environment and filtering it<br />

through into his work is not, and the body <strong>of</strong> distinctive and highly refined work he has created in more<br />

recent years charts his responses to his surroundings.<br />

After living in Tasmania for nearly 40 years, Blakebrough has taken to his new landscape keenly. He<br />

walks in the bush, swims in the sea, appreciates the wildlife, and at 82 he pads around his new home<br />

and studio with the ease and energy <strong>of</strong> a man half his age. But Blakebrough has always been energetic<br />

- someone who gets things done. He has spent a lifetime creating and exhibiting his work, teaching and<br />

training apprentices, conducting ceramic research and taking a leading role in ceramics in Australia. His<br />

achievements include his contribution to ceramic education at Sturt Pottery, Mittagong, in the 1960s<br />

and at the Tasmanian School <strong>of</strong> Art over subsequent decades; his involvement in the creation <strong>of</strong> the<br />

first craft organisations in Australia; and, more recently, the research project he initiated that resulted in<br />

the development <strong>of</strong> Southern Ice Porcelain (a clay body admired for its unparalleled fineness, whiteness,<br />

translucency and workability), which is now exported around the world.<br />

As one <strong>of</strong> Australia 's most eminent ceramicists, Blakebrough's work is represented in all <strong>Australian</strong><br />

state galleries and many international collections, including the British and Danish royal collections. He<br />

has received numerous awards including a gold medal at the International Exhibition <strong>of</strong> Ceramic Art,<br />

Faenza, Italy, in 1974, a Churchill Fellowship in 1992, an Australia Council Creative Arts Fellowship<br />

in 1997, and nomination as a Master <strong>of</strong> <strong>Australian</strong> Craft in the inaugural 'Living Treasures' series<br />

established by Object: <strong>Australian</strong> Centre for Craft and Design, in 2005. In 2008 he was named Senior<br />

<strong>Australian</strong> <strong>of</strong> the Year in Tasmania.<br />

Blakebrough's success is unsurprising in the light <strong>of</strong> the drive, focus and determination that have<br />

characterised his life . Growing up in Surrey, England, through the 1930s and the Second World War, he<br />

found solace at boarding school through draWing and painting and "was in love with the idea <strong>of</strong> being<br />

a pa inter". Instead <strong>of</strong> being "swooped up into the army and sent to Germany as part <strong>of</strong> the occupation<br />

forces ", the 17-year old Blakebrough went to sea on a tramp steamer, and while he had no intention <strong>of</strong><br />

coming to Australia, when the ship landed in north Queensland on his 18th birthday, he decided to stay.<br />

By 1955, (with his immigration <strong>of</strong>ficially approved) Blakebrough was studying painting at East Sydney<br />

Technical College (ESTC) but when he switched to the ceramics studio, run by Mollie Douglas and Peter<br />

Rushforth, he found his vocation. " I used to say I walked in that door and never really came out," he<br />

quips . W ith the LeachiCardew approach the reigning philosophy, Blakebrough found "the notion <strong>of</strong><br />

being a self-supporting innovative artist quite a compelling thing". A significant mentor to Blakebrough<br />


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

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

at this time was ancient history teacher and <strong>Australian</strong> history author Harry Nicholson, who had<br />

provided Blakebrough with accommodation while he was at ESTC, encouraged his artistic ambitions,<br />

and advised him in his career.<br />

Towards the end <strong>of</strong> his training at ESTC, Blakebrough and fellow-student Colin Levy spent a week at<br />

the pottery at Sturt Craft Centre, Mittagong, NSW, on their way to Melbourne. Ivan McMeekin, who<br />

was running the pottery at that time, <strong>of</strong>fered Blakebrough an apprenticeship at Sturt and Levy teaching<br />

work at nearby Frensham school - both Sturt and Frensham had been established by visionary English<br />

educator Winifred West. McMeekin had trained with Michael Cardew, and Blakebrough says that<br />

through McMeekin he "ate, drank and slept" the LeachiCardew tradition for nearly three years. " We<br />

made work with local materials, and made the glazes from locally occurring igneous rocks. It was rural<br />

arcadia; it was like a dream come true." Another defining force there, he adds, was Winifred West. In<br />

1959, amid some controversy, McMeekin resigned to teach at the University <strong>of</strong> New South Wales, and<br />

West <strong>of</strong>fered the job as head <strong>of</strong> Sturt Pottery to Blakebrough, the apprentice. "It did cause ructions<br />

in the ceramics community," Blakebrough admits. "Suddenly I had become one <strong>of</strong> the villains in the<br />

piece." In time the storm blew over, and Blakebrough managed the pottery so well that in 1964, West<br />

appointed him Director <strong>of</strong> Sturt Craft Centre as well, positions he held jointly until 1972.<br />

Blakebrough took full advantage <strong>of</strong> the opportunity handed him. Part <strong>of</strong> his role as Director <strong>of</strong> Sturt<br />

was to develop and expand the centre, and given the concurrent explosion <strong>of</strong> the craft movement,<br />

he says he could almost do no wrong. He established a metal workshop, introducing silversmiths Ray<br />

<strong>No</strong>rman from Sydney and Ragnar Hansen from <strong>No</strong>rway. <strong>The</strong> weaving workshop was very successful, and<br />

the pottery was "thumping along" . Many potters were being trained and everything they made was<br />

sold. " At one stage I had five apprentices there," says Blakebrough. "I had regular exhibitions around<br />

the country and that gave me the opportunity to become established as a player in the field; that was<br />

the big opportunity at Sturt. Along the way people like Harry Nicholson were a great help, but Winifred<br />

was a formative mentor, no question about that. "

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

A year spent in Japan in the sixties, which " Winifred had encouraged and helped finance " had<br />

provided Blakebrough with" a huge change in outlook and philosophy. One <strong>of</strong> the things was the<br />

absolute dedication they brought to the work," he says. On the other hand, "It was workaday, everyday<br />

business. Any preciousness just fell away from it. Japan broadened the horizon fantastically. It was a<br />

great experience. "<br />

Back in Australia, as Diredor <strong>of</strong> Sturt, Blakebrough was also respon si ble for promoting the crafts<br />

in general. After failing to persuade <strong>The</strong> Potters Society to broaden its frame <strong>of</strong> reference to include<br />

other crafts, a small group including Blakebrough and Marea Gazzard started the Craft Association<br />

<strong>of</strong> NSW. <strong>The</strong>y went on to encourage the formation <strong>of</strong> similar organisations in other States, which<br />

were amalgamated in 1971 to create the Crafts Council <strong>of</strong> Australia. With the advent <strong>of</strong> the Whitlam<br />

Government, a million dollars in funding was injeded into the new Crafts Board <strong>of</strong> the Australia<br />

Council. "Hey presto, it was like a honeymoon!" says Blakebrough, who was an inaugural Crafts Board<br />

member.<br />

By this time, however, Blakebrough had already been lured to Tasmania to start the ceramics<br />

department at the Tasmanian School <strong>of</strong> Art, which had just been incorporated into the new College<br />

<strong>of</strong> Advanced Education (CAE) at Mount Nelson, Hobart. "<strong>The</strong>y were looking for people with energy<br />

and ideas. <strong>The</strong>y wanted to light a fire under it, so they dra9ged me down there to do it," he says. He<br />

ran the new course from 1973 till 1981 along similar lines to Sturt Pottery. He introduced 'geology<br />

excursions: taking students on field trips hunting for materials, and invited international ceramic artists<br />

to undertake residencies at the art school so students could be exposed to as broad a range <strong>of</strong> views as<br />

possible.<br />

In 1981, Blakebrough stepped down as head <strong>of</strong> the <strong>Ceramics</strong> Studio, which had then become part<br />

<strong>of</strong> the University <strong>of</strong> Tasmania (UTAS), to work in his private studio in Mount Nelson, training apprentices

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

in the studio pottery tradition he had practised at Sturt, and selling and regularly exhibiting his work.<br />

In 1987, major illness and a year out <strong>of</strong> action led him to rethink his life. He scaled back the studio,<br />

working on his own until 1990, when "Ge<strong>of</strong>f Parr [Director <strong>of</strong> the School <strong>of</strong> Art, UTAS, at the time]<br />

made me such a crazy <strong>of</strong>fer," says Blakebrough, that he couldn't refuse it. As Associate Pr<strong>of</strong>essor,<br />

Blakebrough was invited to help develop a research pr<strong>of</strong>ile for UTAS, a challenge he took up with gusto,<br />

despite "the whole notion <strong>of</strong> the University [being] a bit intimidating academically" . As well as teaching,<br />

he worked in the newly established <strong>Ceramics</strong> Research Unit with Penny Smith, Ben Richardson and<br />

others' and when he began submitting research proposals to the <strong>Australian</strong> Research Council (ARC) he<br />

"started to round up some serious money" .<br />

<strong>The</strong> projects Blakebrough initiated were informed by his studio pottery experience and his increasing<br />

interest in mass production processes. <strong>The</strong> major project he undertook, "to interface industrial processes<br />

with small scale studio production" was aimed at transforming the economic viability <strong>of</strong> the studio<br />

system, and the second (much smaller) project grew from a search he had begun in the late 1980s for<br />

a purer, whiter porcelain than any currently available, one that would result in a beautiful matte finish<br />

without glaze. Awarded a Churchill Fellowship in 1992, Blakebrough took a study tour to Europe - to<br />

the Royal Copenhagen factory in Denmark, to Arabia in Sweden, and to Royal Worcester in Eng land -<br />

and spent three or four months in each place. "It was a huge eye-opener," he says, more than anything<br />

because he found that "this philosophy you'd been brought up with, in the Leach/Cardew mOUld, that<br />

industry was a really dirty word ... was nonsense" . At Royal Copenhagen in particular, where the highly<br />

sophisticated production was housed in a fine 18th century building along with Georg Jensen and<br />

Holmgaarde, he says there was" a completely different aesthetic at work, and you thought, hey, you<br />

can't dismiss this - Leach got it wrong!"<br />

It was an aesthetic that had increasing appeal for Blakebrough, and his subsequent search for<br />

whiteness, translucency and refinement was a far cry from his earlier Japanese-inspired wood-fired work.<br />

In Europe he learnt about mould-making and slip-casting and drew them into his repertoire. He explored<br />

decals. He was "like a kid in a playground." he says <strong>of</strong> the variety <strong>of</strong> things he worked with. "A lot <strong>of</strong>

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

that stuff changed my life and it changed the way I viewed how I was working and what I was doing."<br />

Back in Hobart, Blakebrough pursued the large ARC project, which entailed reconfiguring the automatic<br />

roller-head machine the European factories used to suit studio purposes, an initiative that was very wellfunded<br />

for six years but ultimately abandoned. "We were ten years too late," says Blakebrough, since<br />

by that stage the traditional studio pottery system had virtually disappeared in Australia. "However, the<br />

Southern Ice Porcelain project, one <strong>of</strong> the things I didn't take seriously while we were doing it, proved to<br />

be a winner."<br />

With significant funding for the project provided over five years, Blakebrough "had a team <strong>of</strong><br />

people who were prepared to work on it, so every week there'd be a test going through." "You've<br />

got considerations to meet in the raw state and other considerations to meet in the fired state," he<br />

says, and <strong>of</strong>ten the objectives were in conflict. But "when you get something that's as workable as<br />

Southern Ice is, and then you fire it [to such whiteness], the bloody stuff is almost pure magic!" Named<br />

to highlight its purity and its Tasmanian origin, near the Southern Ocean and the Antarctic, Southern Ice<br />

has been manufactured under licence by Clayworks Australia since 1999.<br />

Blakebrough himself has used the clay exclusively since its creation, exploring its attributes through<br />

thrown, slip-cast and slab-formed techniques and incorporating motifs that exploit the fineness,<br />

translucency and glassy quality <strong>of</strong> the material. Earlier works were decorated using metallic salts and<br />

calligraphic markings; but later, highly controlled etching processes were used to vary the wall thickness<br />

<strong>of</strong> the pots, creating imagery through translucency. <strong>The</strong> themes were drawn from his environment and<br />

experience, and depicted, for instance, the kelp forests <strong>of</strong> Fortescue Bay, Tasmania; the wind drifting

Pro file<br />

across the Derwent River; the leaves that fall on the forest floor; or, in a series he called 'In the Long<br />

Grass with Claudia Rose', a view <strong>of</strong> life as seen by his two-year-old grand-daughter. " What affects me<br />

is a local force, a local presence, " says Blakebrough, " but also, it's about the line; it's what a shipwright<br />

might call fair - creating something t he eye can explore that has some style and elegance to it. I don't<br />

mind it being sophisticated; it's a lot <strong>of</strong> things that wood-fired ceramics aren't, and I'm happy and<br />

relaxed and comfortable w ith that. "<br />

Along with his environment, Blakebrough credits poetry, certain lines <strong>of</strong> poetry, as his inspiration. He<br />

quotes poet and friend Bob Brissenden's line: 'looking down through depths <strong>of</strong> air: written about the<br />

view <strong>of</strong> Hobart from Mount Wellington above, and says, "I find myself being dragged along emotionally<br />

by such a statement. " He also relates the idea that poetry can contain so much pr<strong>of</strong>undity so succinctly<br />

to his own creative practice.<br />

"I'm looking for an elegance {using] a sophisticated material that's beautiful to the touch, and touch is<br />

really important. It doesn't happen easily. It gets harder, and the care, and the attention to detail, is hugely<br />

demanding. And you need long periods <strong>of</strong> quiet contemplative time to put it together. Certainly that's the<br />

way the poets do it. <strong>The</strong>y're able to focus and condense stuff into a few w ords. It's like that wonderful line<br />

in Shakespeare about being bounded by a nutshell but to count yourself a creature <strong>of</strong> infinite space ... just<br />

to count yourself a creature <strong>of</strong> infinite space ... phew .. ."<br />

<strong>The</strong> words don't come, but Blakebrough continues to quietly create.<br />

Photographer: Anthony Browell<br />

1 Grace Cochrane. 'ResIdencies and Research,' In It>S Blakebrough, a Berl Gallery Monograph, Ben Gallery Hobart. Tasmania 2010. pp.35-36<br />

Further Reading: Les B/akebrough: <strong>Ceramics</strong> by Jonathan Holmes, Craftsman House, 2005,<br />

written as part <strong>of</strong> Object: <strong>Australian</strong> Centre for Craft and Design'S 'Living Treasures' series,<br />

Also Les B/akebrough, a Bett Gallery Monograph, 2010, which contains insightful essays on<br />

Blakebrough's life and work by Patsy Hely and Grace Cochrane.<br />


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


1930<br />

1948<br />

1955-1957<br />

1957-1959<br />

1959-1972<br />

1963-1964<br />

1964-1972<br />

1965<br />

1970<br />

1973-1981<br />

1973-1977<br />

1974<br />

1974-1977<br />

1976<br />

1978<br />

1981 - 1987<br />

1982<br />

1987<br />

1988<br />

1989<br />

1992<br />

1995<br />

1997- 1998<br />

1998-<br />

1999<br />

2001<br />

2002<br />

2005<br />

2008<br />

2010<br />

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

Born in Kingston, Surrey, England<br />

Arrived in Australia by tramp steamer<br />

Studied painting then ceramics at East Sydney Technical College<br />

Apprenticed to Ivan McMeekin at Sturt Pottery, Mittagong, NSW<br />

Manager <strong>of</strong> Sturt Pottery<br />

Studied in Kyoto, Japan, with Takeichi Kawai<br />

Director <strong>of</strong> Sturt Craft Centre, Mittagong, NSW<br />

Became a foundation member <strong>of</strong> the Craft Council <strong>of</strong> Australia<br />

Represented Australia at the World Craft Council Conference, Dublin, Ireland<br />

Moved to Tasmania as Head <strong>of</strong> the <strong>Ceramics</strong> Studio, Tasmanian School <strong>of</strong> Art, at the<br />

newly established Tasmanian College <strong>of</strong> Advanced Education (CAE)<br />

Foundation member <strong>of</strong> the Crafts Board, Australia Council<br />

Established a private studio at home in Mount Nelson, Hobart, Tasmania; Won the<br />

Gold Medal at the International Exhibition <strong>of</strong> Ceramic Art, Faenza, Italy<br />

Foundation member <strong>of</strong> Tasmanian Arts Advisory Board<br />

Began working in glass; Member <strong>of</strong> the <strong>Australian</strong> delegation to International Design<br />

Conference, Kyoto, Japan<br />

European co-ordinator, World Crafts Council Conference, Kyoto, Japan<br />

Minimising his teaching load, he ran his studio pottery, <strong>The</strong> Pot Company, at Mount<br />

Nelson, <strong>of</strong>fering three-year apprenticeships to three or four trainees at a time<br />

Official visitor to Fujian Province, People 's Republic <strong>of</strong> China<br />

Serious illness led him to closure <strong>of</strong> the Mount Nelson pottery<br />

Invited back to Tasmanian School <strong>of</strong> Art, (since 1981 part <strong>of</strong> the University <strong>of</strong> Tasmania)<br />

as Associate Pr<strong>of</strong>essor and Reader in <strong>Ceramics</strong> charged with establishing a <strong>Ceramics</strong><br />

Research Unit<br />

Retrospective exhibition held at Tasmanian School <strong>of</strong> Art<br />

Awarded a Churchill Fellowship to undertake study tour <strong>of</strong> ceramics industries in<br />

Scandinavia and the UK<br />

Retired from teaching but continued at the <strong>Ceramics</strong> Research Unit<br />

Awarded an Australia Council Creative Arts Fellowship<br />

Made Honorary Research Associate, Tasmanian School <strong>of</strong> Art, University <strong>of</strong> Tasman ia<br />

Southern Ice Porcelain sold under licence by Clayworks, Australia<br />

Formation <strong>of</strong> Southern Ice Porcelain Pty Ltd, which developed editioned plates (1-100)<br />

depicting Tasmanian flora<br />

Southern Ice Porcelain dinner set created for the Vice-Chancellor, University <strong>of</strong><br />

Tasmania<br />

Became a member <strong>of</strong> the International Academy <strong>of</strong> <strong>Ceramics</strong>; Named the inaugural<br />

'Living Treasure' at Object: <strong>Australian</strong> Centre for Craft and Design and featured in<br />

Living Treasures, Masters <strong>of</strong> <strong>Australian</strong> Craft exhibition and monograph<br />

Named Senior <strong>Australian</strong> <strong>of</strong> the Year in Tasmania<br />

Relocated to Darlinghurst, Sydney, NSW, to join his new partner,<br />

photographic artist Anne Ferran<br />

Established new studio in Coledale, south <strong>of</strong> Sydney, NSW<br />


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

A Slow Boat to China<br />

Cory Taylor chronicles Sh in Koyama's passion for porcelain painting<br />

in China and Japan<br />

It was never part <strong>of</strong> Shin Koyama's plan to end up building a porcelain studio in Jingdezhen, China. Like<br />

everything good in life, this particular twist <strong>of</strong> fate came about through a series <strong>of</strong> happy accidents.<br />

A painter and printmaker, Shin had always had the urge to branch out and explore other mediums.<br />

He had a particular passion for traditional Japanese blue and white porcelain. <strong>No</strong>t that he wanted to<br />

learn how to make the porcelain, only how to paint on it, how to use it as a surface for his complex and<br />

wildly funny imagery. <strong>The</strong> main attraction <strong>of</strong> porcelain, he says, is its durability. He likes the thought that<br />


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

Shin Koyama painting on porcelain<br />

long after his works on paper and canvas have rotted away, someone might one day dig up fragments<br />

<strong>of</strong> his porcelain and enjoy what they see.<br />

In 2009, he travelled to his native Japan and introduced himself to porcelain makers in Arita. <strong>The</strong>re he<br />

was able to get his first taste <strong>of</strong> what it was like to paint on porcelain and he came away wanting more.<br />

So enamored was he with the whole experience that he even planned to buy land and build a house in<br />

Arita so he could spend more time there and learn as much as he could about the Japanese blue and<br />

white tradition.<br />

Enter Jackson Li, from Sanbao International Ceramic Institute in Jingdezhen. In May 2010, Shin<br />

attended a workshop given by Jackson at the Gold Coast Potter's Association and was immediately<br />

diverted from his original intention. Over a cup <strong>of</strong> Chinese tea at the end <strong>of</strong> the first day's workshop,<br />

Jackson invited Shin to come to China the following October to help celebrate Sanbao's 10th<br />

anniversary. Shin immediately accepted. He'd heard <strong>of</strong> Jingdezhen and knew <strong>of</strong> its importance as an<br />

historic hub for Chinese porcelain, but never in his wildest dreams had he thought he might one day<br />

visit there.<br />

Two years later, Shin has a completely self-contained apartment and studio in what is called the<br />

Shinpo House at Sanbao. Originally financed by the Japanese kiln makers, the house stands at the very<br />

end <strong>of</strong> the Sanbao complex surrounded by bamboo and overlooking rice paddies. Every Chinese spring<br />

and autumn, Shin returns to Sanbao to live and work in his converted rooms designing and painting<br />

porcelain sculptures, urns, vases, plates, tiles and pillows, anything he can get his hands on.<br />


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

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

Shin Koyama at his home in Jingdezhen, China<br />

His process has evolved over time as he has struggled to find the right sculptors, mould makers and<br />

slip casters to help him to produce his forms, the right cobalt blue to paint with, the right brushes, the<br />

right glaze, the right master and the right box maker. In a town brimming over with ceramic technicians<br />

<strong>of</strong> every variety and temperament, this is basically a matter <strong>of</strong> trial and error, so there has been some<br />

heartbreak along the way.<br />

What has pleased Shin the most about working in Jingdezhen is the enthusiasm he has found there<br />

for his irreverent approach to making work. With no technical knowledge, no Chinese language ability,<br />

no credentials as a ceramicist, Shin has found a ready fan base in Jingdezhen and elsewhere. This is<br />

probably, Shin says, because he has a beginner's mentality. He isn 't after technical perfection; rather he<br />

is aiming to surprise his audience with imagery and narratives that one doesn't normally associate w ith<br />

porcelain.<br />

Shin's joy at discovering all the methods and processes <strong>of</strong> porcelain manufacture in Jingdezhen has<br />

a lot to do with his own background. Growing up in 1950's Japan, Shin is old enough to remember<br />

a time when his hometown <strong>of</strong> Isesaki, a silk weaving centre about an hour and a half north <strong>of</strong> Tokyo,<br />

resembled Jingdezhen as it is today. He revels in nostalgia for his childhood every time he drives his<br />

moped into town through Sanbao village and sees the women washing their clothes in the river, or the<br />

farmers hand harvesting their rice, or the market vendors selling live chickens beside the woman with<br />

the sewing machine who repairs clothes while you wait. Each <strong>of</strong> these scenes calls up an equivalent<br />

scene from Shin's own journey home from school past the t<strong>of</strong>u maker and the tatami mat maker and<br />

the tinker and the shoemaker, back before Japan became a rich nation.<br />


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

Opposite page: Shin Koyama painted porcelain objects<br />

I think it needs to be mentioned that these images are what he draws on in his work - the daily trip<br />

for fresh food and dinner parties. Pottery and food go together.<br />

He is also able to remember a time when 'Made in Japan' meant cheap, the way 'Made in China'<br />

means cheap today. One <strong>of</strong> the major advantages <strong>of</strong> working in Jingdezhen for any artist is the<br />

availability <strong>of</strong> quality materials and technical assistance at an extremely reasonable cost. In general, Shin<br />

is able to male work in China at about a tenth the cost <strong>of</strong> making the same work in Japan, which is a<br />

powerful incentive to maintain a base there.<br />

Even so, he has lately started to discuss with friends and collaborators the possibility <strong>of</strong> establishing<br />

an artists residency in Kyushu, based on successful programs like Sanbao and its urban equivalent in<br />

Jingdezhen, <strong>The</strong> Pottery Workshop. His idea would be to try to attract international ceramicists and<br />

other artists to spend time in both China and Japan. Shin is particularly keen to point out how close<br />

Kyushu is to China, being less than an hour away by air.<br />

Or you can take the leisurely boat trip now from downtown Shanghai and be in Nagasaki the next<br />

day. From Nagasaki, the ceramic centres <strong>of</strong> Takeo, Arita, Ureshino, Imari and Karatsu are only a short<br />

bus ride away.<br />

So the coming years might see Shin return to his original plan, be it in a radically different form. <strong>No</strong>w<br />

that he has experienced how to make porcelain in China, he is better equipped, he feels, to explore the<br />

similarities and differences between the Chinese approach and the Japanese approach to designing and<br />

making work. It will be fascinating to see what he can do in Japan that he can't do in China, and vice<br />

versa. In the meantime, he is busy designing more ceramic pillows after a sellout show in May at Jan<br />

Manton Art in Brisbane. Inspired by traditional Chinese pillows, Shin's Yume Makura (Dream Pillows)<br />

play with the Chinese belief that bad dreams bring good luck.<br />

Shin isn't sure if it's true, but he does think that something has been working in his favour in the past<br />

few years, and that happy accidents are responsible.<br />

Cory Taylor is a novelist and essayist and a regular contributor to Griffith Review,<br />

www.shinkoyama.com.au<br />

Technical hint from Shin:<br />

" <strong>The</strong> hardest thing about painting on porcelain is that you have to work very fast. Your brush must<br />

move quickly over the surface otherwise it dries up and stalls because <strong>of</strong> the porous quality <strong>of</strong> the<br />

surface. Because <strong>of</strong> this you have to develop a way <strong>of</strong> allowing your hand to relax and move freely.<br />

I <strong>of</strong>ten use a long stick to rest my forearm on so that my wrist is supported and my hand is nice and<br />

loose. Also you have to make sure your cobalt is the right consistency by keeping the water content<br />

at the right level. It helps to hold the brush the way ca lligraphers do, rather than the way you hold<br />

a pencil. It has something to do with the angle at which the tip <strong>of</strong> the brush moves over the surface<br />

and the ease with which you can vary the pressure. "<br />


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

Niharika Hukku<br />

Niharika Hukku's creations are an expression<br />

<strong>of</strong> what she finds elegant and beautiful in her<br />

world, Weaving clay into delicate fabric, she<br />

creates an impossible form. Her woven bottles<br />

look skeletal and rigid giving the impression that<br />

time has stripped away the clay and left only<br />

what was necessary. Nature also plays a big part<br />

in her work as is evident in her nest bowls and<br />

bloom/pod series.<br />

Born in India, her earliest memory <strong>of</strong> clay<br />

was on a train journey drinking tea from a<br />

'kulhar'. <strong>The</strong> act <strong>of</strong> drinking from an unglazed<br />

earthenware bowl which is then crushed and<br />

returned back to earth after use, represented<br />

recycling at its purest. It left a lasting impact on<br />

her.<br />

She pursued beauty in painting and evolved<br />

into a successful illustrator and lived in Indonesia,<br />

Singapore and New Zealand. It was in Indonesia<br />

where the red volcanic earth once again<br />

reminded her <strong>of</strong> experiences with clay in her<br />

childhood. Her work is strongly influenced by the<br />

diverse experiences she has had whilst travelling.<br />

Niharika has always liked to push herself and<br />

the medium she works with. After exploring<br />

forms which seem to trick the eye into believing<br />

they're delicate, she is currently working on<br />

combining her passion for illustration with<br />

ceramics, using her current creations as a 'Sketch<br />

Book' - drawing subjects that touch and amuse<br />

on her thrown porcelain vessels.<br />

She is now at the cusp <strong>of</strong> finding her balance<br />

in life through her work and remains humbled<br />

and absorbed by the process.<br />

Nih arika Hukku, Woven Bottle, <strong>2012</strong>, Southern Ice<br />

porcelain paper clay, extruded, assembled, h.S7cm, d.9.5cm<br />

Photo: courtesy artist<br />

http://cargocollective,com/niharikahukku<br />


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

1 Pod, <strong>2012</strong>, Southern Ice porcelain paper clay, thrown, extruded, assembled, h.l0cm, d.12cm<br />

2 Nest, <strong>2012</strong>. stoneware paper clay, extruded, assembled, h.9cm, w.1Scm<br />

3 Sketch Book series, <strong>2012</strong>, Southern Ice porcelain clay. handpainted, wheelthrown. h. lOcm<br />

All work by Niharika Hukku; photos: courtesy artist<br />


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

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

Paper, Clay, Water, Rock<br />

Julie Claessens writes about the art practice <strong>of</strong> her mother, Barbara Cauvin<br />

It's a cold six degrees and not the best time <strong>of</strong> year to<br />

paint, but the weather in Tasmania is never predidable,<br />

even in mid-summer. Light rain and mist enshroud both<br />

hills and lake, camouflaging everything. This is a uniquely<br />

beautiful place. We come across a clearing in a forest and<br />

Mum signals to stop. <strong>The</strong>re's a clump <strong>of</strong> trees. <strong>The</strong> drizzle<br />

is persistent so she draws sitting awkwardly in the back<br />

seat, windows up. Within minutes she has captured the<br />

essence <strong>of</strong> the scene.<br />

At 87, Barbara Cauvin continues to amaze and inspire<br />

me as I watch her sketching this clump <strong>of</strong> silver-barked<br />

trees in a wilderness forest. I envy her ability to observe<br />

and create.<br />

Barbara Cauvin, Mt Lyell Surface Series, <strong>2012</strong><br />

watereolOuT, h.36cm, w.27cm<br />

Photo: Concept Photographics<br />

Observing her watercolours and retrospective ceramics<br />

for her recent exhibition, Tasmanian Traces, at<br />

Sidespace Gallery in Hobart, the connection with Cauvin's<br />

environment and the sea is unmistakable.<br />

Barbara Cauvin is my mother and I came to Tasmania to<br />

interview her and take her to paint at Lake Pedder for this exh ibition. My sister, Sydney-based ceramicist<br />

Simone Fraser, curated the exhibition, a culmination <strong>of</strong> many trips around Tasmania, including the east<br />

and west coasts, the Bay <strong>of</strong> Fires, Cradle Mountain and Lake Pedder.<br />

At Lake Pedder we go to a lookout and she starts to paint. She has a steady hand, sweeping stylised<br />

brush strokes across the paper, blurring and simplifying the scene, transforming the vaporous mountains<br />

and grey lake into a misty 3x3 on paper.<br />

This is a special time for me and I 'look at the view', as I was encouraged by her to do as a child. It<br />

brings back memories <strong>of</strong> sitting for hours as her subject for portraiture, surrounded by paint, brushes,<br />

clay and pots.<br />

I reminisce about watching her working at the wheel or bench in her Hobart studio overlooking<br />

Mount Well ington, lost in her world <strong>of</strong> clay, working layer upon layer, coaxing this way and that way,<br />

fingers and tools melding and defining the surface into a form echoing the natural beauty <strong>of</strong> the<br />

seashore, a shell, rock pool or seaweed.<br />

Asked about her talent, she reminds me that my great grandfather made his living as an artist and my<br />

grandfather was a keen amateur photographer. My grandmother was also artistic and liked to draw. At<br />

15, the young Barbara was sketching and attending art lessons after school, and by 17 she was taking<br />

commissions for portraits. Laughingly she says some <strong>of</strong> her boyfriends benefitted for their 21 sts with<br />

some <strong>of</strong> her work.<br />


--~--- -<br />

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

Barbara Cauvln<br />

and her Wave form<br />

Her watercolours indicate a step away from her ceramics, which she practised for almost 40 years,<br />

returning to watercolour after the death <strong>of</strong> her husband, my father, in 1996 after a long illness.<br />

Cauvin is reluctant to say which medium she likes best. She was attracted to the riskiness <strong>of</strong> clay "<br />

there 's always a chance that the kiln has changed the work, anything can go wrong in a firing; there are<br />

many surprises, and maybe there's an element <strong>of</strong> lack <strong>of</strong> control, whereas, with painting, I feel more in<br />

control " . She says <strong>of</strong> the comparison between working in clay and paint, "colour and surface texture<br />

have always been important elements in my work and I think there is still that link" .<br />

<strong>The</strong> Rock Scape Series, from a recent visit to Mount Lyell Copper Mine on the west coast, is <strong>of</strong><br />

particular interest as Cauvin is drawn back to the solidity <strong>of</strong> the landforms. She captures the striking<br />

vibrancy <strong>of</strong> these old mine edifices with her imaginative impressions using oranges, greys, greens and<br />

whites <strong>of</strong> the mineral and clay rock faces.<br />


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

Barbara (auvin, Wave, 1985<br />

hand-coiled, sculpted form<br />

stoneware, h.24cm w.SOcm<br />

Opposite page:<br />

Barbara (auvin<br />

three crystalline bonles, 1992<br />

taliest. h.45cm<br />

Photos: Concept Photographic<br />

I know my mother created wonderful ceramics but I want her thoughts about what makes a good<br />

artist.<br />

"An artist must see beyond what's in front <strong>of</strong> her and create a unique interpretation; this comes from<br />

years <strong>of</strong> training the eye to observe what many others miss, to be disciplined and to have patience."<br />

Cauvin believes it's very personal, and vital that people have an intuitive understanding <strong>of</strong> the correct<br />

proportions <strong>of</strong> a pot or sculpture or painting. "As you work you are continuously appraising," she said.<br />

" I think learning to draw is a very important aspect. I enjoy the rhythm <strong>of</strong> design and try to transpose<br />

the drawing into 3D . <strong>The</strong>re's always a danger in being too rigid about technique and breaking the rules<br />

is very acceptable if technique gets in the way <strong>of</strong> creativity and spontaneity."<br />

So how do you gauge when you are up to a standard to exhibit?<br />

"That's difficult to answer. You set yourself standards and must be self-critical, continually<br />

striving for excellence. If you're a student, you have opportunities to exhibit with other students,<br />

to critically analyse and gain valuable peer and teacher feedback ." She says it's a process <strong>of</strong><br />

development, through time, skill, technical ability, practice and pushing through boundaries. It<br />

takes many failures and frustrations before the final work, which must look as if it was easy to<br />

produce."<br />

What sort <strong>of</strong> value as an artist should a practitioner place on selling their work?<br />

" Firstly you must be true to yourself. Don 't create for shock value, just for a sale - that's a<br />

deception. Put yourself out there and show <strong>of</strong>f your hard work to sell, especially if that's how<br />

you pay the mortgage. But in the end, it comes down to what you create because you love the<br />

medium. If you don't, it shows."<br />

Barbara Cauvin has been in many solo and group exhibitions, is widely published in <strong>Australian</strong><br />

and international magazines, and has collections in the Tasmanian Museum and Art Gallery,<br />

University <strong>of</strong> Tasmania, the Queen Victoria Museum and Art Gallery in Launceston, and in<br />

many private and public collections.<br />

Julie Claessens has written extensively for the arts and in the areas <strong>of</strong> health and nutrition,<br />

and is the publicist for the Tasmanian Traces exhibition.<br />


Focus: Technical<br />

Flow and Twist<br />

Ch ris Weaver on tools<br />

Growing up in a family <strong>of</strong> five boys, you learned quickly that if you wanted something you had to make<br />

it with what you had, or go without. This <strong>of</strong>ten meant you had to make the tools first in order to be<br />

able to make that something that you wanted.<br />

I built myself a potter's wheel while at high school and taught myself to make pots. While I was an art<br />

student in Dunedin in the early seventies, I made my first throwing tools and what began as a necessity<br />

has become a passion.<br />

I live on the west coast <strong>of</strong> the south island <strong>of</strong> New Zealand, which is a fairly isolated part <strong>of</strong> the<br />

country and it helps to be resourceful. <strong>The</strong> nearest ceramic supply store is three hours drive away over<br />

the Southern Alps and phone or internet orders mean a wait <strong>of</strong> a couple <strong>of</strong> days at least. As I made new<br />

work in the early days, I was <strong>of</strong>ten not able to buy tools that were suitable to use. I found the generic<br />

tools available uncomfortable and unsympathetic, so I began making my own tools from the wood that<br />

had been swept down the flooded rivers and washed up on local beaches. <strong>The</strong> driftwood pieces I found<br />

were quite sculptural and fitted my hands comfortably. <strong>The</strong> pleasure I got from making and using these<br />

tools added to the pleasure <strong>of</strong> making pots.<br />

I've discovered that the best pieces <strong>of</strong> wood are found close to the high-tide mark but it is usually the<br />

shapes that first attract me. What I look for are the hardwoods that invite you to pick them up to be<br />

handled. I bring an armful home following a visit to the beach and add them to my supply drying in the<br />

shed.<br />

Often when developing a new series <strong>of</strong> work, rather than be limited by what I have at hand, I'll make<br />

new tools if I need them. I know precisely what I want it for before I start, so from the pile I'll pick a dry<br />

piece that suits my needs and feels comfortable to hold. <strong>The</strong> flow and twist <strong>of</strong> the grain has a bearing<br />

on the final outcome but I treat each piece as a sculptural objed and work on it until I'm satisfied, <strong>of</strong>ten<br />

reworking it over and over until it feels right. I rough them out first with a motorised disc and drumsander<br />

and hand-sand to finish. Because the wood fibres swell when wet, I finish the pieces with wet<br />


Above and below: Chris Weaver tools; photos: artist<br />

Focus: Technical

Focus: Technical<br />

Driftwood washed up on the Hokitika Beach after a storm<br />

Chris Weaver<br />

and dry sandpaper in water before use. After I began using my new throwing tools, I quickly became<br />

dissatisfied with my brushes, knives and turning tools so I made replacements for them too.<br />

Earlier this year, I collaborated with furniture designer Tim Wigmore, who had earlier commissioned<br />

me to make a tool for a project he was working on. <strong>The</strong>n he asked for a wood and ceramic tool that<br />

was relevant to my work to exhibit in one <strong>of</strong> six custom-made native timber cabinets he would construct<br />

from the same species <strong>of</strong> wood as the contents. I chose to make a cutting wire attached to Rimu ends<br />

with porcelain plugs. For the wire I used a guitar string from the local music store twisted up with an<br />

electric drill and a vice.<br />

I use these tools not as replacement for, but as an extension <strong>of</strong> my fingers and they allow me to do<br />

more than I can with just my fingers . <strong>The</strong>y also <strong>of</strong>fer an excuse to indulge in my passion for making in a<br />

material other than clay.<br />

www.chrisweaver.co.nz<br />

f inished tool<br />


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

Focus: Tech nical<br />

1 Sliced tea set, 2009 2 Cutting wire with glazed ceramic inserts 3 Driftwood tools 4 Detail showing the ceramic bung and<br />

wire attachment 5 Metal tools with wooden handles. <strong>The</strong> cutting wire is made from a guitar string and stones from the beach<br />

6 Made to measure teapot, 2011; All work. by Chris Weaver; photos: artist<br />

6<br />


Focus: Technical<br />

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

Kevin Grealy. completed objects<br />

using the formwork method<br />

A Different Approach to<br />

Slab Building<br />

Kevin Grealy shares his discoveries<br />

As a construction method, slab building has its problems as well as its merits. <strong>The</strong> most common<br />

approach, which appears to be advocated in the many how-to publications, is to cut and stiffen all the<br />

pieces to be assembled, bevel their edges and then assemble the object using a 'glue' <strong>of</strong> clay slip at the<br />

joints. And there lurks the devil!<br />

Stiffened clay is mainly clay with a little water, whereas slip is mainly water with a little clay. As a pot<br />

dries, it is the water that disappears, leaving the joints the weakest part <strong>of</strong> the pot. <strong>The</strong> subsequent<br />

actions <strong>of</strong> drying, shrinking, heating and cooling are clever at seeking out these weakest parts for the<br />

release <strong>of</strong> tension and so the pot is damaged.<br />

By comparison, if 1 construct a pot by joining slabs <strong>of</strong> plastic clay with pressure only, the joint is usually<br />

stronger than any other part <strong>of</strong> the pot. <strong>The</strong> only problem is how to manipulate s<strong>of</strong> t slabs <strong>of</strong> plastic clay<br />

and apply pressure at the joints. For me the solution was suggested by a neighbour whose trade was<br />

constructing wooden formwork for poured concrete on building sites. Plastic sheets <strong>of</strong> clay can be cut<br />

to size, laid up on the inside <strong>of</strong> wooden formwork and joined with plastic clay coils and considerable<br />

pressure. Soon after, the formwork can be dissembled, so the exterior <strong>of</strong> the newly made object is<br />

available for a variety <strong>of</strong> decorative and textural treatments best performed on plastic clay.<br />


Focus: Technical<br />

<strong>The</strong>re are upper and lower size limits for this method. <strong>The</strong> lower limit is determined by the hand.<br />

<strong>The</strong>re must be room for the hand and fingers to apply coils and pressure inside the pot. <strong>The</strong> upper limit<br />

is determined by the arm. You must be able to reach over the top <strong>of</strong> the formwork and down to the<br />

base <strong>of</strong> the pot for applying plastic clay coils with pressure.<br />

My first attempts were to construct square saggars Which, when made by the stiff clay and slip<br />

method, had an unacceptable failure rate ... at the joints!<br />

Project 1: A square saggar<br />

Construct a wooden box which has inside dimensions equal to the required outer dimensions <strong>of</strong> your<br />

saggar, allowing for drying and firing shrinkage. For easy dissembling, use screws not nails. <strong>The</strong> box need<br />

not have a base, but should sit unattached on a piece <strong>of</strong> fibro cement sheet. (Diagram 1)<br />

Step 1: On the sheet <strong>of</strong> fibro cement, cut a slab <strong>of</strong> clay w ider than the base <strong>of</strong> the wooden box or<br />

formwork . Place the box on the clay slab and trace a line on the clay around the inside <strong>of</strong> the box. This<br />

represents the base.<br />

Step 2: Remove the box. Cut away and remove the surplus clay. Replace the box over the clay. This is<br />

the base <strong>of</strong> your saggar.<br />

Step 3: Cut slabs for the four sides and lay them up inside the box.<br />

Step 4: Make coils the thickness <strong>of</strong> your little finger. Place them in the angles <strong>of</strong> each joint and apply<br />

pressure until the coils have disappeared into the slabs .<br />

Step 5: Clean up the insides <strong>of</strong> the saggar w ith a scraping tool then trim the top edge with a cutting<br />

wire.<br />

Step 6: Unscrew and dissemble the box or formwork. Imperfections can be repaired with plastic clay and<br />

a scraping tool, or burnished with a spoon. Alternatively, you could leave the saggar inside the formwork<br />

to shrink and then remove the<br />

formwork.<br />

Step 7: Allow the saggar to dry<br />

slowly, away from drafts, strong<br />

sunlight and heat sources. At the<br />

cheese-hard stage, sharp edges<br />

can be trimmed with a potato<br />

peeler.<br />

Hint: If you intend to make<br />

multiples <strong>of</strong> this or other projects,<br />

cut cardboard templates for each<br />

clay slab. Templates allow for<br />

faster and more accurate cutting<br />

to size .<br />


Focus: Techn ical<br />

One clay slab inside the<br />

formwork being joined<br />

to the base with a coil<br />

Project 2: Tall, partly enclosed pot<br />

A tall pot with a partly enclosed top requires a slightly different approach. <strong>The</strong> formwork for this pot can<br />

have wooden sides and base, but fibro cement sheeting is required for the larger areas <strong>of</strong> front and<br />

back. Follow making directions for the saggar formwork.<br />

Step 1: Unscrew and remove the front face (diagram 2) and lay the formwork on its back.<br />

Step 2: Apply and join slabs inside the formwork to the back, sides and base. (Diagram 3) Insert and<br />

press coils into each joint as you did with Project 1.<br />

Step 3: Place the front face fibre cement sheet on its back. Cut a slab <strong>of</strong> clay to roughly the size <strong>of</strong> the<br />

fibre sheet.<br />

Step 4: Measure the inside dimensions (A) and (B) <strong>of</strong> the clay work inside the formwork.<br />

Front and back<br />

clamped together<br />


Focus: Technical<br />

Step 5: Cut the slab to these dimensions<br />

and remove the surplus clay. (Diagram 4)<br />

Step 6: Raise the formwork upright. Raise<br />

the front fibro sheet and clay slab upright<br />

and push it into place. Screw the front<br />

face onto the formwork. (Diagram 5)<br />

Step 7: Apply and press coils into the<br />

new jOints with pressure. <strong>The</strong> pot is<br />

complete; however the top edges are<br />

prone to warping inwards as the pot<br />

dries. To prevent this, you need to fashion<br />

an inward-turned lip.<br />

Step 8: Apply fat coils to the inside <strong>of</strong> the<br />

top <strong>of</strong> the pot. (Diagram 6a)<br />

Step 9: Place a block <strong>of</strong> wood across<br />

the rim <strong>of</strong> the pot and press the fat<br />

coils upwards against the wood block.<br />

(Diagram 6b)<br />

Step 10: <strong>The</strong> inner edge <strong>of</strong> the top is<br />

likely to be irregular. Allow it to become<br />

cheese hard then trim it neatly with a<br />

sharp, thin-bladed knife. (Diagram 6c)<br />

Step 11: Unscrew and dissemble the<br />

formwork. Allow the pot to dry slowly<br />

away from wind, strong sunlight and heat<br />

sou rces.<br />

®<br />


-------<br />

Focus: Technical<br />

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

~LI:::=::i::===:::U<br />

Project 3: Slab pot with wheel-thrown neck<br />

<strong>The</strong> pot in Project 2 could have been almost completely enclosed so a wheelthrown neck could be<br />

added. However, the pressure used to firmly attach the neck could also cause the flat top to collapse.<br />

<strong>The</strong> solution is to give the pot an upwardly curved top. (Diagram 7a; above left)<br />

Two fibro faces are cut with the desired curve and screwed to the formwork. (Diagram 7b)<br />

Step 1: Remove the front fibro face and construct the insides as in Project 2.<br />

Step 2: Add the front face as in Project 2, making certain that all joints are well pressed with coils .<br />

Step 3: As in Project 2, add fat coils inside the top <strong>of</strong> the rim, starting from the narrower ends. Hold a<br />

block <strong>of</strong> wood firmly against the top <strong>of</strong> the formwork and press the coils upwards towards the block <strong>of</strong><br />

wood. Continue until you can no longer place a finger inside the pot.<br />

Step 4: Allow the pot to reach the cheese hard stage before adding a freshly thrown neck with slight<br />

pressure. Do not use slip for the joining - to minimise damage to the top <strong>of</strong> the pot, throw the neck<br />

with s<strong>of</strong>ter clay than usual.<br />

Project 4: A narrow slab pot<br />

You may wish to make a slab pot which is too narrow from front to back for your hands to be inside<br />

for joining by the plastic clay and pressure methods used so far. <strong>The</strong> solution is a compromise. Most<br />

<strong>of</strong> the pot is made by the methods used in Projects 2 and 3 but the remaining face is added by using<br />

pressure and a thick clay paste that is thicker than slip but thinner than plastic clay.<br />

<strong>The</strong> formwork for this pot has a thin plywood, curved top, two wooden sides and a wooden base, and<br />

a back face <strong>of</strong> fibro cement. It has no front face.<br />

Step 1: Construct the insides as for Project 1, that is, a top, a base, 2 sides and the back.<br />

Step 2: Cut a slab slightly bigger than the back.<br />


Focus : Technical<br />

Step 3: Make a thick paste <strong>of</strong> clay (like peanut butter) and apply a thick bead to the top edge <strong>of</strong> the<br />

clay in the formwork.<br />

Step 4: Turn the formwork over and carefully place it on top <strong>of</strong> the slab, applying pressure to join.<br />

(Diagram 8a). I usually use a block <strong>of</strong> wood and hammer to apply sufficient pressure to squeeze excess<br />

clay paste from the joint. (Diagra m 8b)<br />

Step 5: Unscrew and dissemble the formwork. Trim away excess clay and fettle the pot. Add a wheelthrown<br />

neck if desired.<br />

Summary<br />

Projects 1, 2 and 3 using plastic clay and pressure joints give me around 90% success rate. Failures are<br />

usually caused by carelessness - wind, drying, strong sunlight, damp pot in the bisque firing.<br />

Project 4, combining plastic clay, firmer clay and clay paste, gives me around 70% success rate . Failure is<br />

always at the paste-joined edges.<br />

When the intended pot will be too small or narrow for these methods, I slip-cast. Success rate is 100%.<br />

For making formwork, unpainted timber is fine for bases and sides, but larger areas or faces require a<br />

porous material such as cellulose fibre cement sheeting. Large area slabs <strong>of</strong> clay will stick to plywood<br />

and masonite sheeting.<br />

I used Feeney's Buff Raku and Clayworks GB3 for these projects. <strong>The</strong> Buff Raku can be sprayed with a<br />

slip <strong>of</strong> GB3 if a light coloured surface is required for some glazes.<br />

www.sidestoke_com/Grealy/fastfire1.html<br />


Focus : Technical<br />

What haven't you been doing<br />

with paper clay?<br />

Graham Hay on the 'dipstick' method<br />

While paper clay is widely used in studios and classrooms, even experienced practitioners have an<br />

incomplete understanding <strong>of</strong> the technical possibilities. Most have discovered that paper clay can be<br />

used in the same manner as we have been taught to use traditional clay. Pinch, coil, slab, slipcast, press<br />

moulding and most wheel techniques are all possible in paper clay. Many will have noticed that less<br />

warping and cracking occurs with paper clay.<br />

In this article I want to focus on just one <strong>of</strong> a number <strong>of</strong> new techniques - quickly joining dry paper<br />

clay to dry paper clay. I have named it the 'dipstick' method.<br />

Traditionally, large or thin clay works are skillfully built by joining 50ft, wet clay to s<strong>of</strong>t, wet clay,<br />

while drying the rest <strong>of</strong> the work only enough that it does not collapse under its own weight. When<br />

completed, the whole work is dried slowly. Paper clay <strong>of</strong>fers the opportunity to join together thinner<br />

pieces, which can be pre-dried, with no lengthy drying period at the end.<br />

Considerable savings in time are possible, with reduced fatal errors and cracking.<br />

<strong>The</strong> following advice applies to any paper clay, regardless <strong>of</strong> the amount <strong>of</strong> paper (processed cellulose<br />

fibre) in the clay, and regardless <strong>of</strong> the type <strong>of</strong> clay used to make the paper clay (earthenware,<br />

terracotta, raku, stoneware, porcelain, bone china).<br />

Bear in mind that the hollow paper fibres provide 'pipes' through dense clay bodies. <strong>The</strong>se pipes<br />

enable water, steam, air and heat to move quickly through the clay. <strong>The</strong>re are two key things to watch<br />

out for when joining dry paper clay to dry paper clay: firstly, the degree <strong>of</strong> dryness <strong>of</strong> the two pieces,<br />

and secondly the thickness <strong>of</strong> the pieces. Provided you clearly understand the importance <strong>of</strong> these two<br />

things, your dried and fired joins will be as strong as the rest <strong>of</strong> the ceramic work.<br />

Completely dry<br />

It is essential to make sure the 'dry' paper clay is completely dry. This ensures it has reached its<br />

maximum tensile strength - and it will reduce the likelihood <strong>of</strong> you accidentally breaking work during<br />

joining. Also, completely drying the paper clay will shorten the time it takes the paper clay to siphon<br />

water into and later away from joins, and so s<strong>of</strong>ten and then dry (firm up) the joins. When joining dry<br />

pieces <strong>of</strong> paper clay, think <strong>of</strong> the process as temporarily converting the joining area back to s<strong>of</strong>t clay, just<br />

long enough to make the join. Only through experience will you discover how much water to add to the<br />

dry paper clay, and how long is the time window you have to make a successful join.<br />

If the clay feels cool to touch, it is not completely dry. <strong>No</strong>t completely dry paper clay can be speeddried<br />

in the hot sun and/or a warm wind, or for the very impatient, a hot fan heater outside on a 3S+ 0 C<br />

day! If it is cold, it is best to place the heater on a table, otherwise you are trying to heat up and use the<br />

colder air at ground level.<br />

Hydrologic mass<br />

Consider now what I'll label the hydrologic mass <strong>of</strong> the joining parts. This is the capacity <strong>of</strong> the dry<br />


Graham Hay, Spin, 2001, earthenware and terracotta ceramic paper clay, all parts dried, dipped and stuck together with<br />

earthenware paper clay, fired to 11600(, h.37cm, w.35cm. d.22cm; photo: Vidor France<br />

piece <strong>of</strong> paper clay to absorb water. Most people incorrectly consider the size <strong>of</strong> the area to be joined<br />

when considering how long to soak the joining areas <strong>of</strong> the dry paper clay. Actually. the larger the<br />

hydrologic mass <strong>of</strong> a piece to be joined. the longer it has to be soaked; therefore joining two different<br />

sized pieces <strong>of</strong> dry paper clay will require different soaking times.<br />

<strong>No</strong>te: both soaking pieces should be removed simultaneously from the water or slip, just seconds<br />

before making the join, otherwise the moisture will be Siphoned away from the joining area prior to<br />

joining. <strong>The</strong> surfaces to be joined must be still shiny wet, not just damp, when joined together.<br />

Reduce soaking time by soaking the dry paper clay edges in watery paper clay slip rather than in<br />

thick slip. Soaking in hot, clean water before adding joining paper clay slip is an option for the very<br />

impatient. (Increasing the paper content in handmade paper clay has also been a strategy used by those<br />

specialising in dry-to-dry joins.) By using completely dry paper clay, the maximum amount <strong>of</strong> clay (within<br />

the paper clay slip) is sucked quickly into the two joining surfaces, and once the join is made. any<br />

surplus water is siphoned away from the join into the dry part <strong>of</strong> the piece, drying the join out quickly<br />

and so strengthening it quickly. <strong>The</strong> quicker each join dries and firms up, the sooner weight can be<br />

placed on it and more joins made. Obviously, thinner pieces <strong>of</strong> dry paper clay require less soaking time<br />

prior to joining and can be more quickly dried after joining, than thicker pieces.<br />

What to look for<br />

<strong>The</strong> following photos provide an indication <strong>of</strong> what to look for when soaking dry paper clay prior to<br />

making a join. Each paper clay maker or manufacturer may use a different amount or type <strong>of</strong> paper in<br />

their paper clay. Also there are many different equations used to describe the percentage <strong>of</strong> paper in<br />

their paper clay (dry weight. dry volume. wet volume etc.) so it is best to make a small siphoning test in<br />

your studio or classroom.<br />


Focus: Technical<br />

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

Image 1: the two pieces <strong>of</strong> dry paper clay on the left were soaked in cold water, and the two on the<br />

right were soaked in hot water. Compare the two thick pieces in the middle and how far the water was<br />

absorbed into the dry paper clay. <strong>The</strong> piece second from the left should be soaked in water for longer<br />

(as it is not yet even leather hard), while the third from the left has adsorbed too much water (and has<br />

begun to structurally disintegrate as the water gathers on the surface). It should be left out for a little<br />

while to firm up into plastic clay consistency before joining.<br />

Use a timer to measure how quickly different thicknesses <strong>of</strong> dry paper clay become s<strong>of</strong>t or start to<br />

disintegrate in the water. After they have been removed from the water, time and observe how quickly<br />

they siphon the water away from the join area.<br />

Completely flat joins or clean breaks can be soaked and joined with paper clay slip (or without slip if<br />

soaked long enough so the dry paper clay converts into slip).<br />

Image 2: uneven joining surfaces were soaked (top 7 minutes, lower one 5 minutes) before being<br />

joined together with a coil <strong>of</strong> s<strong>of</strong>t paper clay (dipped in paper clay slip). Be careful not to pull the s<strong>of</strong>t<br />

paper clay up onto areas surrounding the join that may not have been wet long enough to s<strong>of</strong>ten. If<br />

you do, hai rline cracks on the join line will appear.<br />


Focus: Te chnical<br />

Image 3: broken tube. Always test the tensile strength <strong>of</strong> completely dry joins to discover the ideal<br />

duration to soak that particular paper clay (or thickness) prior to joining, in order to create the strongest<br />

joins. In this example, the piece on the right was soaked for two minutes longer than the other piece,<br />

before being joined together with s<strong>of</strong>t paper clay. After completely drying, I bent the work and the join<br />

broke on the left side <strong>of</strong> the joining s<strong>of</strong>t paper clay coil (marked with two small black marks).<br />

Over the last twenty years Graham Hay has given more than 200 workshops in a dozen<br />

countries, participated in (or led) paper clay conferences/symposiums in Scotland, Denmark,<br />

US, Hungary and Sweden, taken part in 120 exhibitions and published twenty paper clay<br />

journal articles. For detailed information and video on how to use paper clay, visit www.<br />

grahamhay.com.au.<br />


Focus: Technical<br />

Workshop with Akio Takamori<br />

Alison Smiles reports from Adelaide<br />

In the three days prior to Subversive Clay, <strong>Australian</strong> <strong>Ceramics</strong> Triennale <strong>2012</strong>, I was fortunate enough<br />

to attend a hands-on workshop with ceramic sculptor Akio Takamori. We learned about Akio's technical<br />

processes and came closer to an understanding <strong>of</strong> his work. It was also a great precursor to the week <strong>of</strong><br />

clay madness at the conference.<br />

Akio is a university lecturer who structured his time with a mixture <strong>of</strong> demonstrations, hands-on<br />

participation and slide talks, and it was great to attend such an organised and well-rounded workshop.<br />

Akio gave us an introduction to his work, explaining his background training in fine arts, his move to<br />

a production pottery village in Japan, and his development as a production potter, producing 1000 cups<br />

a month for the pottery. He also spoke <strong>of</strong> his eventual move to the United States to extend his ceramic<br />

and fine art knowledge. All <strong>of</strong> these experiences led him to become the artist he is today, working in the<br />

cross disciplines <strong>of</strong> ceramics, drawing, printmaking and public art.<br />

<strong>The</strong> atmosphere in the workshop was reverentia l - it was exciting to be in a room full <strong>of</strong> people who<br />

were really eager to learn more about Akio's processes, even if I felt a little star-struck at times! Every<br />

day was a push to get our pieces to the next stage so that we could develop our work further and grow<br />

the skills we were learning from him.<br />

As a result <strong>of</strong> this intensive process, the atmosphere <strong>of</strong> the class was a quiet contemplative space; we<br />

were lucky to have assistants on hand and the excellent facilities <strong>of</strong> AC Arts in Adelaide TAFE as host<br />

meant that the workshop did not leave me wanting in any possible way! <strong>The</strong> only thing that would<br />

have made it better is if it had been longer!<br />

Akio made three sculptures, a slab-built form which had a different image painted on each side, and<br />

two coil-built figures - one a reclining sleeping girl, the other a standing boy. We were working with<br />

Feeneys Buff Stoneware, a sandy and easy-to-use sticky clay that allowed coils to build up quickly and<br />

took the punishment from heat guns used to force-dry the figures. Akio built his standing sculpture in<br />

one day, which was really impressive as the finish was still very sensitive and resolved. <strong>The</strong> benefit <strong>of</strong><br />

years <strong>of</strong> experience was obvious, as the figure grew with no major corrections or alterations other than<br />

simply pinches and pulls to the face. Akio stressed the importance <strong>of</strong> checking and rechecking your<br />

work as it grows by touching the figures. With a gentle fatherly pat now and then on the shoulders <strong>of</strong><br />

his growing figure, he explained that this was important to maintain proper proportion and symmetry.<br />

In regard to proportion, Akio also explained that it is better to make a figure that initially appears<br />

too skinny as you can manipulate the shape by pushing on the form from the inside, which will give<br />

the form a greater tension and feeling <strong>of</strong> liveliness. His description <strong>of</strong> making a figure with a sense <strong>of</strong><br />

realness, rather than a likeness, also makes a lot <strong>of</strong> sense. His figures are not highly realistic; instead<br />

they possess a life <strong>of</strong> their own, and it was interesting to see a room full <strong>of</strong> makers react to his sculpture<br />

which had simply grown from the clay in front <strong>of</strong> them. It was heart warming to see the affection they<br />

Akio Takamori at AC Arts in Adelaide TAfE; photo: Grant Hancock<br />



Focus: Technical<br />

felt for the figu re because, as human beings, we are all hardwired to respond to a likeness in a face, but<br />

responding to a sense <strong>of</strong> humanity in a face is another type <strong>of</strong> readion all together.<br />

On reflection I can see that this workshop has taught me how to go up in scale and also the<br />

possibilities that lie in the expressive nature <strong>of</strong> clay. <strong>The</strong> privilege <strong>of</strong> seeing a true master <strong>of</strong> ceramic<br />

sculpture at work has helped me begin to understand the marriage between form and surface<br />

treatment.<br />

<strong>The</strong> flattening out <strong>of</strong> the face by the application <strong>of</strong> underglaze meant that Akio's faces are far from<br />

finished when he stops sculpting and picks up the brush to start painting. To develop this skill and also<br />

keep the work looking fresh is something that comes from making the work in a spontaneous manner.<br />

Using underglazes that are diluted means that the colour moves and runs in a way that is less controlled<br />

than I am used to. This enables a freer feel to the clothing and faces that Akio makes. <strong>The</strong> sculptures are<br />

sometimes fired up to four or five times, allowing for refledion on the finish and staging the process so<br />

that work doesn't become muddy or too controlled.<br />

<strong>The</strong> washes become deeper with each subsequent firing because generally Akio re-fires the work<br />

at a lower temperature than the first firing, avoiding a bleaching out effed on the work. Commercial<br />

Opposite page, photos: Grant Hancock<br />

Below, photos: Alison Smiles

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

Focus: Technical<br />

Photos: Alison Smiles<br />

underglazes are used with the addition, sometimes, <strong>of</strong> Gerstley Borate to provide a little extra flux to the<br />

colours.<br />

<strong>The</strong> challenge to experiment with these new ways <strong>of</strong> seeing, and to free up the stiltedness that can<br />

come with struggling with the complexities <strong>of</strong> the human form, and interpret all this w ith a new set <strong>of</strong><br />

eyes for my own work, is a challenge I'm sure many <strong>of</strong> the others in the class also felt.<br />

http://alisonsmiles.carbonmade.com<br />


Focus: Technical<br />

Technical tips:<br />

• Choice <strong>of</strong> clay for hand-building is important if you want your sculpture to grow quickly.<br />

• Keep the water away! If you are working with good squishy clay, there is no need to add<br />

slip to coils or to dampen them with water; this will only make your sculpture less strong<br />

and more prone to cracking.<br />

• Roughly sketch your faces into the head surface and then sculpt from the outside as well<br />

as from the inside <strong>of</strong> the head, by gently pushing cheekbones etc. out.<br />

• Keep the firing range to 1140°C or similar as this does not shrink the work too much and<br />

it stops the faces looking 'tight'. Also, if you are using groggy or sandy clay, this will come<br />

to the surface at higher temperatures and make a rougher sandy surface.<br />

• Re-firing is always an option and this will allow you make changes and develop the<br />

surface. <strong>The</strong>re is no need to re-fire at a higher temperature. Keep it lower than your first<br />

firing as going higher can undo some <strong>of</strong> the surface treatment you have already applied.<br />

• When doing a horizontaVreciining figure, sketch the figure on your base slab <strong>of</strong> clay to<br />

map out the structure, and build up the figure horizontally to maintain balance and strong<br />

structure.<br />


Fo cus: Technical<br />

Web Places<br />

A collect ion <strong>of</strong> useful technical websites gathered by Emily Byrne<br />

<strong>The</strong> web has a wealth <strong>of</strong> information available to potters. From basic information to more detailed<br />

direction, there is a site for everyone. Below are just a few we have discovered.<br />

www.claytimes.com/studio-reference-guide.html<br />

Clay Times is an American-based website and magazine. <strong>The</strong>ir studio reference page has information<br />

across a broad range <strong>of</strong> topics. <strong>The</strong>se include preparing your own clay, step-by-step written guides on<br />

throwing lids, constructing press moulds and teapots. <strong>The</strong>re is also a section on glazing techniques.<br />

www.ceramics-directory.com/about-ceramics-clay.php<br />

International <strong>Ceramics</strong> Directory is an online database <strong>of</strong> the ceramic industry featuring basic<br />

information about types <strong>of</strong> clay, their composition and uses.<br />

http://pottery.about.com<br />

About.com is great for explanations on a variety <strong>of</strong> ceramic topics. It is a general website on a collection<br />

<strong>of</strong> subjects, pottery being one <strong>of</strong> them.<br />

http://juliagalloway.com/field-guide<br />

<strong>The</strong> Field Guide for Ceramic Artisans is a website <strong>of</strong> information and resources developed by Julia<br />

Galloway to help and support students when they are finishing school. It came about after peer-topeer<br />

sharing <strong>of</strong> information by her students along with information Julia collected based on the specific<br />

questions asked by them.<br />

http://ceramicartsdaily.org<br />

Ceramic Arts daily has an informative collection <strong>of</strong> articles written across a broad range <strong>of</strong> topics by<br />

various potters. <strong>The</strong>re is also a comprehensive range <strong>of</strong> instructional videos. Go to the bottom <strong>of</strong> their<br />

home page to discover the different sections.<br />

www.ceramicstoday.com/articles/branfman_raku.htm<br />

This page on <strong>Ceramics</strong> Today has detailed information on raku firing in Q&A format.<br />

www.robertcomptonpottery.com/Method%20<strong>of</strong>-Wood%20Firing-pottery.htm<br />

Robert Compton Pottery has basic information on woodfiring including different techniques and the<br />

effects they will produce.<br />

www.nsi.tafensw.edu.aullibraries/<strong>Ceramics</strong>.htm<br />

<strong>No</strong>rthern Sydney Institute <strong>of</strong> TAFE has a resources page providing links to ceramic information. Some<br />

resources require a student 10.<br />

http://ceramicsnepean.westernsydneyinstitute.wikispaces.net<br />

This wiki space is primarily used to share information for <strong>Ceramics</strong> and Fine Arts students at TAFE NSW,<br />

Western Sydney Institute, Nepean College. Most areas <strong>of</strong> the site are now freely available to anyone<br />

interested in ceramics. <strong>No</strong>n-students can browse the pages listed, download photos, glaze recipes and<br />

technical information.<br />


Focus: Technical<br />

Orawings by Emily Byrne<br />

www.brothers-handmade.com/pottery-glazes.html<br />

Brothers Handmade has a page with basic information on glazes.<br />

www.duncanshearer.co.nz/glaze/glazechemistry.html<br />

Duncan Shearer Studio Potters website delves into detail regarding the chemical composition <strong>of</strong> glazes.<br />

www.sidestoke.com<br />

Th is website was constructed by Arthur Rosser, who also provides content on anagamas and other<br />

wood fired kilns, woodfired pots and woodfirers themselves.<br />

Editor's note: Emily Byrne, daughter <strong>of</strong> Sydney potter and teacher Jen Lyall, joined us at<br />

the <strong>of</strong>fice <strong>of</strong> <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association in mid-July <strong>2012</strong>, for one week <strong>of</strong> Work<br />

Experience as part <strong>of</strong> her Year 10 study. Emily was asked to find online resources for potters<br />

and this list is the result. Her skills at drawing also came to the fore with her pen drawing<br />

(shown here) <strong>of</strong> the pinch pot method. Emily also updated the <strong>Australian</strong> <strong>Ceramics</strong> Directory,<br />

correcting inconsistent entries and adding thumbnail images to entries. It was a pleasure to<br />

have her with us and we wish her well with her future studies.<br />


Promotion<br />

[EAflmIH flUSTAflLlfl<br />


How Shimpo Came to Australia<br />

A Story by Rohan Lidgard<br />

"So it begins .. ."<br />

My passion for pottery and all things clay began when my parents gave me and my sister a bag <strong>of</strong><br />

clay to play with as toddlers. We would sit in the garage for hours making little pinch pots and animals.<br />

For us it was all about getting muddy and squishing clay into different forms and ending up with our<br />

own masterpiece that we would take proudly to get fired at Auckland Studio Potters. I still recall the<br />

post-firing excitement as we anxiously waited for the kiln door to open. What a treat that was.<br />

"Is that a brick?"<br />

"<strong>No</strong>, it's a teapot. "<br />

Coming from a family where my granddad and father were both potters, my sister and I were both<br />

exposed to the world <strong>of</strong> ceramics from a young age. We were fortunate to be surrounded by passionate<br />

potters like Peter longi, who was a friend <strong>of</strong> my father's. Visiting him was always an exciting experience,<br />

wondering what new things he had created. A few <strong>of</strong> my favourites were his teapots; one that looked<br />

exactly like a brick and another one that looked like a samurai's head with a fish passing through it. I<br />

can still remember sneaking into the old pottery shed on granddads farm and being absolutely taken<br />

aback by all the tools, equipment. fiddly bits and mechanical things like the old drip-diesel-kilns. I<br />

would sit there and wonder how the combination <strong>of</strong> all these things produced many <strong>of</strong> our household<br />

essentials. <strong>The</strong>se childhood experiences were the bricks and mortar that were laid down to begin my<br />

passion for pottery.<br />

"It's bright orange!"<br />

"This is no ordinary wheel."<br />

Whilst visiting my father in Japan late 2007, I spent a few months throwing pots in his bedroomconverted-studio<br />

on his Shimpo Whisper T. A week and a half later, the studio shelves were full and<br />

the pots were dry. It was time for glazing. We had a 65-litre bucket <strong>of</strong> glaze and it needed to be mixed<br />

through. My father handed me a big mixing stick and said, "See you in one hour; I'm going downstairs<br />

for dinner. "<br />

My stomach bellowed, so I quickly started mixing as fast as I could without spilling glaze over the<br />

sides <strong>of</strong> the bucket. It was no easy task . My arms and shoulders started to feel like lead and the glaze<br />

was putting up some tough game. My eyes searched the studio for something that would help get food<br />

into my stomach sooner; something to do the stirring for me - the pottery wheel.<br />

<strong>The</strong> Shimpo wheels have a fully adjustable foot pedal that holds speed without the need <strong>of</strong> holding<br />

the pedal down. You just depress the pedal to the RPM you want and leave it there. Perfect.<br />


Shimpo RK-3E (VL Whisper) Potter's Wheel; photos: Maximilian Mein<br />

So there I was, a hungry seventeen-year-old ready to get the job done. I placed the big tub <strong>of</strong> glaze<br />

carefully on the wheel head, making sure it was centred and then set the pedal to a nice slow speed,<br />

the tub had quite a large circumference so a fast speed would equal mess everywhere!<br />

<strong>The</strong> glaze was perfectly mixed through within minutes and alii had to do was hold the mixing stick in<br />

the bucket without moving it. Job done. Dinnertime.<br />

" Remember to turn the wheel <strong>of</strong>f!"<br />

" ... Why?"<br />

"So you don't accidentally ... "<br />

After dinner I went upstairs to glaze the pots ready for firing the next morning. Full as anything and<br />

feeling a tad on the sleepy side, I opened the studio door and .. . BOOM! <strong>The</strong> next thing I know glaze<br />

is everywhere. I had painted my father's fastidiously neat studio white. <strong>The</strong> wheel was so quiet I had<br />

forgotten to turn it <strong>of</strong>f and had accidentally stepped on the pedal and pushed it to max RPM! I learnt<br />

my lesson and now realise why they put an " on" light on the wheels. <strong>The</strong>y're so quiet you can't hear<br />

them. <strong>The</strong>se months spent in Japan reignited my passion for throwing and marked the inception <strong>of</strong> my<br />

business, Ceramix Australia.<br />

Coming home was hard; I felt misplaced. This wasn't the Australia I had left behind. I recognised<br />

everything but it felt different, like I was looking at home from a different perspective. I missed the<br />

rhythmic sounds Japan had to <strong>of</strong>fer as background noise. I missed the studio in which I had become<br />

accustomed to spending my days. I've always liked the idea <strong>of</strong> being self-sufficient, something about<br />

being able to shape the environment around me to exactly how I feel it should be. Throwing takes me<br />

back; I feel like I'm a little kid aga in helping grandad around the farm. I miss those days. I can't recreate<br />

them but maybe I can recapture the essence <strong>of</strong> those carefree feelings I had as a child.<br />


Promotion<br />

Photo: Maximilian Meln<br />

I figured the main reason I felt like my home had changed was because I had changed. I wanted to<br />

be able to get back to my father's studio in Japan. I cleared out the old garden shed in the backyard and<br />

began setting up a place from which I could work.<br />

I began by researching different pottery wheels available in Australia and couldn't find any that<br />

compared to the quality and precision <strong>of</strong> Shimpo products. Determined to get something <strong>of</strong> similar<br />

standard I spoke with my father and we decided the best option was to import Shimpo pottery wheels<br />

from Japan, as nothing in Australia came close. One thing led to another and we recognised the<br />

potential to set up a small importing business. We then secu red sole distribution rights to the <strong>Australian</strong><br />

market to provide the Shimpo experience to others also looking for quality precision pottery equipment.<br />

This was the beginning.<br />

Everything comes together when I'm throwing - the slightly abrasive feeling <strong>of</strong> clay in my hands, the<br />

distinct earthy smell and the raw feeling <strong>of</strong> creation. <strong>The</strong> absolute silence .. with the Shimpo I am in<br />

Japan again.<br />

To find out more about Shimpo quality precision pottery equipment,<br />

visit our website: www.shimpo.com.au or contact Rohan by email. rohan@shimpo.com.au.<br />

Potters Wheels Banding Wheels Kilns RoUer<br />

[m1]<br />

THE 10URNAl Of AUSTRALIAN CERAMICS NOVEMBER <strong>2012</strong> 59

Marian Hosking. Hollow Stump, <strong>2012</strong>, porcelain, eucalyptus, epoxy, paint, various dimensions; collection <strong>of</strong> the artist<br />

<strong>2012</strong> Cicely & Colin Rigg<br />

Contemporary Design Award<br />

In <strong>No</strong>vember <strong>2012</strong>, the National Gallery <strong>of</strong> Victoria will present the sixth Cicely & Colin Rigg<br />

Contemporary Design Award. <strong>The</strong> Award is a generous legacy <strong>of</strong> the late Colin Rigg (1895-1982),<br />

a former Secretary <strong>of</strong> the NGV Felton Bequests' Committee. Held every three years, the focus is on<br />

contemporary design practice in the state <strong>of</strong> Victoria. Each Award is devoted to a particular design<br />

discipline and is arguably the most prestigious award <strong>of</strong>fered to a contemporary designer in Australia<br />

with a prize <strong>of</strong> $30,000. Previous recipients are Neville Assad-Sadha (1994) for ceramics, Robert Baines<br />

(1997) for metalwork, Louise Weaver (2003) for textiles, Sally Marsland (2006) for jewellery, and Simone<br />

LeAmon (2009) for seat furniture.<br />


View<br />

<strong>The</strong> <strong>2012</strong> award will be dedicated to the<br />

theme <strong>of</strong> containment, allowing a broad<br />

interpretation that embraces both the conceptual<br />

and the specific. <strong>The</strong> artists have been asked<br />

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

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

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

artists' works represent a wide range <strong>of</strong> pradice<br />

and media, including ceramics, glass, metalwork,<br />

plastics and natural materials. <strong>The</strong> selection <strong>of</strong><br />

artists encompasses those with well-established<br />

pr<strong>of</strong>iles as well as those more emerging.<br />

<strong>The</strong> participating artists in <strong>2012</strong> are ceramicists<br />

Garry Bish, Neville French, Titania Henderson,<br />

David Pottinger, David Ray and Owen Rye;<br />

silversmiths/metalsmiths Robin Bold, Mark<br />

Edgoose, Marian Hosking and Katherine<br />

Wheeler; glass artists Richard Morrell, Ian<br />

Mowbray and Yhonnie Scarce; and plastics,<br />

Emma Davies.<br />

<strong>The</strong> choice <strong>of</strong> a theme for this year's award,<br />

rather than a specific area <strong>of</strong> pradice, delivers<br />

enormous scope for interpretation. Many <strong>of</strong><br />

the works embody a sculptural aesthetic while<br />

rema ining inherently fundional, yet they play<br />

with the possibilities <strong>of</strong> what might be, beyond<br />

their pradical value . Other works are presented<br />

in the context <strong>of</strong> a traditional concept.<br />

<strong>The</strong> award recipient <strong>of</strong> the <strong>2012</strong> Cicely &<br />

Colin Rigg Contemporary Design Award will be<br />

announced on 22 <strong>No</strong>vember. <strong>The</strong> judge for this<br />

year's award is Robert Reason, Curator, European<br />

and <strong>Australian</strong> Decorative Arts at the Art Gallery<br />

<strong>of</strong> South Australia.<br />

<strong>The</strong> <strong>2012</strong> Cicely & Colin Rigg Contemporary<br />

Design Award exhibition will be on display<br />

at <strong>The</strong> Ian Potter Centre, NGV Australia,<br />

from 23 <strong>No</strong>vember <strong>2012</strong> until 21 July 2013.<br />

Open Tuesday to Sunday, 10am- 5pm,<br />

admission is free.<br />

<strong>The</strong> award and exhibit ion are supported by<br />

the Cicely & Colin Rigg Bequest, managed by<br />

ANZ Trustees.<br />

Top: David Pottinger, Nerikomi Vessel, <strong>2012</strong>, porcelain,<br />

h.32cm, w.31cm. d.17cm; collection <strong>of</strong> the artist<br />

Above: David Ray. Stone Soup, <strong>2012</strong>, porcelain, tureen,<br />

h.6Ocm; collection <strong>of</strong> the artist<br />

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


Event<br />

------<br />

Think Up and the Form<br />

Will Follow<br />

Susan Frost reports on the masterclass with Masamichi Yoshikawa<br />

<strong>The</strong> first day <strong>of</strong> Masamichi Yoshikawa's masterclass at JamFactory began without preamble. Through his<br />

interpreter Wendy we were told to take some clay and prepare to start. Our task was to hand-build a<br />

60cm tall cylindrical vessel. As a wheel thrower <strong>of</strong> quite petite wares, this was challenging for me but I<br />

started nevertheless. As we began our uncertain, wobbly pots, Masamichi worked on his own version,<br />

occasionally looking at our work. After a while he decided perhaps it was best to revise the height down<br />

to 20-30 cms and I immediately relaxed. I could achieve this new goal.<br />

Throughout the day Masamichi encouraged us not to think about technique; data accumulation<br />

through working with the clay was just as important. " Think 'up''', he said as our pots became a<br />

bit splayed at the sides "Think 'up' and the form will follow." So I thought 'up' and as I relaxed my<br />

technique, my pot began to take shape. After lunch Masamichi commented that he felt the energy<br />

in the room had changed and was pleased. <strong>The</strong>re seemed to be more confidence in the studio as we<br />

surged past the 30cm mark on our way to achieving the original target. I reached 60cms and kept going<br />

'" 65cms, it was addictive - I couldn't stop adding coils. When Masamichi asked us to stop I had a<br />

towering 7Scm vessel and an immense sense <strong>of</strong> achievement.<br />

At the end <strong>of</strong> the day our vessels were brought together to one table and arranged by Masamichi.<br />

Until then they had been individual entities and now they were a group. It was remarkable to see<br />

how they changed in this context - they became stronger as forms and made sense as a collective.<br />

To integrate them further, Masamichi marked the vessels by stabbing and slicing with a kitchen knife,<br />

poking holes with a rod and hitting (almost whipping) with a stick. It was an energetic, theatrical end to<br />

the day that evoked (from me at least) a personal, physical response - I could feel every incision as my<br />

pot was being stabbed.<br />

Masamichi was reflective on the second morning. He began a general discussion about domestic<br />

ware and its relevance in the context <strong>of</strong> art. As much as he is known for his architectural compositions<br />

and installation works, he has also created many vases, boxes, plates, sake vessels, rice bowls and tea<br />

bowls. He believes these are more than domestic objects and that if they provoke a reaction, regardless<br />

<strong>of</strong> whether this reaction is positive or negative, then they are successful works <strong>of</strong> art. Masamichi firmly<br />

believes that art can overcome the pressures <strong>of</strong> modern life and we protect the natural beauty <strong>of</strong> the<br />

world through art. Through the arts, people receive happiness in life.<br />

When we moved into the demonstration session <strong>of</strong> the day, Masamichi threw his signature tea bowls.<br />

Throwing quickly and fluidly, he uses few tools when making functional pots. Masamichi wants to put<br />

Masamachi Yoshikawa at the JamFactory masterclass in Adelaide; photo: Grant HanCOCK<br />


This page:<br />

1 Photo: Lucille <strong>No</strong>bleza<br />

2-5 Photos: Grant Hancock<br />

Opposite page:<br />

1 Photo: lucille <strong>No</strong>bleza<br />

2 Photo: Grant Hancock<br />

3 Photo: lucille <strong>No</strong>bleza<br />

his physicality into the work, because the pots will go on, when complete, to be used by the body. A<br />

brush is used to make a swirling mark inside the base <strong>of</strong> the vessel in the process <strong>of</strong> finishing, affecting<br />

the movement <strong>of</strong> water, which is also the intention <strong>of</strong> his cool blue flowing glazes.<br />

In the afternoon Masamichi started assembling one <strong>of</strong> his architectural forms and we were<br />

encouraged to make our own. To make these constructs he takes thick leather-hard slabs <strong>of</strong> clay and<br />

carves them back, extracting walls. He takes time to assemble the piece, working out where the walls fit<br />

then taking it all apart and cutting interlocking sections so they slot together, a technique learned from<br />

stone carvers. To end the day we watched slides <strong>of</strong> his work, in particular the planning and execution <strong>of</strong><br />

his 27-metre porcelain wall and sculptural installation at Nagoya Airport.

Event<br />

On day three Masamich i continued with the<br />

construction <strong>of</strong> his architectural composition.<br />

Later he returned to the throwing wheel to make<br />

a large pot. Taking two bags <strong>of</strong> clay, pounding<br />

one bag on top <strong>of</strong> the other, he centred the clay<br />

into a large cone. Next he burrowed his whole<br />

hand, then arm down into the pot to form the<br />

centre. Rather than the typical throwing upwards,<br />

then thinning <strong>of</strong> the walls, the pot remained at<br />

the same height and he narrowed the walls by<br />

pushing the shape outwards and taking <strong>of</strong>f any<br />

excess inside with a tool. He finished the pot by<br />

using a rib to shape the thick rim and squeezed<br />

the form at the base to warp the shape . This<br />

thick vessel was to be gradually dried over a few<br />

weeks by covering it in newspaper and plastic,<br />

replacing the paper every day until it has drawn<br />

out all the moisture. Masamichi would then<br />

usually bisque this work slowly over a week.<br />

~--"." '<br />

~ .. \

Masamichi's hands; photo: Grant Hancock<br />

To finish the day, and the class, the tea bowls from the previous day were trimmed. A chuck was<br />

thrown and quickly hardened using a blow torch and one by one each little bowl was slotted on<br />

to be finished. <strong>The</strong> base was rounded as it was trimmed, so the bowl rocked when placed on a flat<br />

surface. In a final touch, Masamichi turned the bowl over and drew on the base with a needle tool in a<br />

spontaneous motion, which he later highlighted by brushing over with an oxide. Masamichi has made<br />

more than 30,000 <strong>of</strong> these vessels and he has drawn on the bottom <strong>of</strong> every single one. It is his way<br />

<strong>of</strong> leaving a personal message on the work; he also sees it as a way <strong>of</strong> marking time. Each composition<br />

represents a moment <strong>of</strong> his life as it goes by, the minutes and hours <strong>of</strong> the actual making process.<br />

It was an absolute privilege to experience Masamichi's working practices over the three days <strong>of</strong> the<br />

workshop. <strong>The</strong> amount <strong>of</strong> himself he puts into his work, and the respect he has for his material and<br />

the work, is inspiring . Although the masterclass was complete, Masamichi returned to the studio for<br />

the three days until his flight back to Japan, to finish the work he had started. It was clear the work he<br />

created was part <strong>of</strong> him. and he was visibly relieved to have it finished .<br />

After completing two years as an Associate at the JamFactory. Susan Frost has continued as a<br />

tenant at the Jam and now works full-time from her studio.<br />

www.susanfrostceramics.com<br />


28 Sep - 1 Oct 20<br />


28 Sep - , Oct 20t2<br />


Commun ity<br />

Tiddas and Bunjies<br />

(Brothers and Sisters)<br />

A ceramics workshop helps Bankstown Koori Elders connect with their culture<br />

We meet two days a week at Condell Park Community Centre where we do our artwork. <strong>The</strong> group<br />

is made up <strong>of</strong> thirteen ladies and one man. On Wednesday we are with our ceramics teacher from<br />

Campbelltown TAFE, Walter Auer, who introduced us to clay. He taught us how to mould and shape<br />

and so far we have made clap sticks, grinding stones, coolamons and other things from clay. We enjoy<br />

yarning (talking) and exchanging cultural stories and experiences. Our Aunties, the ladies in the group,<br />

are from all over Australia, some from as far as Queensland (they are called Murris).<br />

Lola Simmons<br />

My name is Lola Simmons. I was born in Gulargambone, NSW. My tribe is Wailwan. I don't know much<br />

about my culture. I'm happy to be a member <strong>of</strong> an Aboriginal group which meets two days every week<br />

so we can learn about our culture, art and ceramics.<br />

John Simmons (non-Aboriginal)<br />

I enjoy going to the group with my wife, Lola, and doing artwork and ceramics, which I find very<br />

interesting . I also like listening to the group talking about their culture.<br />

Below: lola Simmons, Grinding Rock, <strong>2012</strong>, terracotta. terra sigiUata. 10800(, h.l8cm, w.31cm, d.27cm<br />

Below right: John Simmons, Grinding Rock, <strong>2012</strong>. terracol1a, terra sigillata. 10800(, h.14cm. w.30cm, d.2Scm<br />

Photos: Walter Auer<br />


1 Robyn Schmitz, Grinding Rock, <strong>2012</strong>, terracotta,<br />

terra sigillata, underglaze colours, 108ifC, h.14cm,<br />

w.2Scm, d.22cm<br />

2 Bev M iranda, Grinding Rock, <strong>2012</strong>, terracotta<br />

terra sigillata, 10BO"(, h.13cm, w.3Ocm, d.24cm<br />

3 Victoria Woods, Coo/amon, <strong>2012</strong>. terracotta<br />

terra sigiliala, lOBO"(, h.Scm, w. 29cm. d.20cm<br />

4 Kellyanne Oriel. Coo/amon, <strong>2012</strong>, terracotta<br />

terra 5Ig11l31a, 10BO"(, h.5cm, w.2Bcm, d.1Scm<br />

Photos: Walter Auer<br />

Robyn Schmitz<br />

I am an Aboriginal Elder who has no real<br />

knowledge <strong>of</strong> my culture due to my mother<br />

being <strong>of</strong> the Stolen Generation. Joining the<br />

Bankstown Elders Art Group has helped me<br />

have a spiritual closeness to my heritage, land<br />

and past generations. Finding my own style is a<br />

challenge but an enjoyable experience. Yarning<br />

with my fellow Elders is an added bonus that<br />

keeps my mind and body healthy.<br />

Bev Miranda<br />

My name is Bev Miranda. I am 66 years young, a<br />

proud Muruwarri woman born in Brewarrina and<br />

raised in Sydney. We are currently working with<br />

clay but I do enjoy art. I like painting with clay<br />

slurry - good earthy colours.<br />

Victoria Woods<br />

My name is Victoria Woods, age 60. I am<br />

a Wiradjuri woman, raised in Sydney. I love<br />

w orking with clay and painting w ith traditional<br />

colours. I feel like I am connecting with my<br />

country and culture.<br />

Keliyanne Oriel<br />

I am an Aboriginal woman whose bloodlines<br />

come from Kempsey and Dubbo - my family<br />

passed away before I found out that information.<br />

<strong>The</strong> art I like to do is working with clay and<br />

painting, both here at the Condell Park Elders<br />

Group and at home. It gets me back to nature<br />

and family. Through art I am learning about my<br />

culture and traditional times.<br />

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Community<br />

Vicki Markna<br />

My mob is from the Yuin Nation, South Coast, NSW. I am 53. I enjoy ceramics because it is calming -<br />

you get into your own zone. All <strong>of</strong> your worries and troubles you forget for a while - it gives me my<br />

sanity! We get to learn more about our culture and history as a group, and this gives me a sense <strong>of</strong><br />

belonging. I'm better at ceramics than at other art practices; I've taken to it more. It has helped me grow<br />

in confidence. I've gone through depression and this has helped me to get through.<br />

lillian Johnson<br />

I grew up on the Cherbourg Mission. My mob is the Birri Gubbi people, <strong>No</strong>rth Queensland. I am 52<br />

years young. I like ceramics. You start with a bit <strong>of</strong> dirt and make it into something deadly. I enjoy doing<br />

art here at the Elders Group. I like using earthy colours; I have a loud mouth, but I don't like using loud<br />

colours!<br />

Lorna Morgan<br />

My name is Lorna Morgan and I am one <strong>of</strong> the Elders at the Condell Park group. I live in Villawood and<br />

attend the group twice a week and really enjoy it a lot. I was born in Sydney but grew up on a mission<br />

in <strong>No</strong>rth Queensland. My mother was born in Queensland and came from the Burri-Girri clan but grew<br />

up on Wakka-Wakka land. She grew up with the knowledge from both clans which made her a smart<br />

woman, and she passed it on to her children. I am proud <strong>of</strong> my Aboriginal heritage.<br />

Sheila Fay<br />

I am 70 years old, from the South Coast, NSW - Yuin Nation, Walbanga and Buddawang Tribes. My<br />

totem is the Black Duck. I like all types <strong>of</strong> art; it gets me out as I'm a full-time carer for my mother. I like<br />

1 Vicki Markna painting pebbles 2 Lilian Johnson, Coo /amon, <strong>2012</strong>, terracotta. terra sigillata, 10BOOC h.Scm, w.21cm<br />

d.3Ocm 3 Lorna Morgan's work; photos: Walter Auer<br />


Communit y<br />

ceramics because you're moulding from nothing. When you sculpt, you're creating what's inside <strong>of</strong> you.<br />

I also like to draw animals. I have a connection to that, and also doing paintings in our colours (red,<br />

black and yellow). People here at the Elders Group are deadly too. Our teacher, Walter, is excellent.<br />

Beverly Gilmartin<br />

My mother comes from Quambone and grew up on the Brewarrina Mission. I grew up in Sydney.<br />

<strong>The</strong> art I like to work on are Aboriginal paintings, but mainly drawings. Clay is alright; I like working<br />

with clay. I mainly do my art here at the Elders Group. It's very relaxing practising art; there's a sense <strong>of</strong><br />

calm and satisfaction I get when I'm doing art. I didn't learn much about traditional culture when I was<br />

young, so it's good to do it now. I get to mix with my cousins and my own mob.<br />

Helen Fisher nee Hopwood<br />

I think my mob is from Tasmania, but I'm not sure . I went to get DNA tested and found that I had<br />

Aboriginal heritage from Queensland and <strong>No</strong>rthern Territory. I really enjoy doing ceramics but it's not<br />

my favourite. I'm looking forward to doing more modelling and sculpting <strong>of</strong> clay - I'd like to learn to do<br />

busts. I really like drawing and painting. I have been drawing for about 10 years, and started painting<br />

when I came here to the Elders Group in 2004. I still feel that I'm in the early stages with painting. I like<br />

doing portrait work. I love the Elders Group; it's the family I've always wanted.<br />

Carol Brown<br />

I'm 55 years old and was born and bred in Revesby, but a proud Biripi woman (Taree, Tuncurry, Forster<br />

area). I love all art that involves our culture and mother earth. I enjoy creating artworks from scratch<br />

using my imagination and passion. It just feels good. I can sense a definite connection to my culture by<br />

working with ochres and clay; it's just in our blood and our dreaming.<br />

4 Sheila Fay decorating a grinding rock 5 Beverly Gilmartin, Coo/amon, 20 12, terracotta, terra sigillata, 10800C<br />

h.5cm, w.2Ocm, d.29cm 6 Helen Fisher, Big Pebble, <strong>2012</strong>, terracolta, terra sigillata 1080"(, h.l6cm, w.l4cm<br />

d.15cm; photos: Walter Auer<br />


Gloria Peronchik, Big Pebble, <strong>2012</strong>, terracolta,<br />

terra sigillata. underglaze colours, 10800(. h.12cm<br />

w.17cm, d.l4cm<br />

carol Brown, Coo/amon, <strong>2012</strong>. terracotta.<br />

underglaze colours, 1080"(, h.5cm, w.21 cm, d.30cm<br />

Photos: Walter Auer<br />

Gloria Peronchik<br />

I am 64 years old. I'm from Cherbourg, Queensland. My tribe is GangululVVaka-Waka. I've never<br />

done ceramics or art before. Since I've joined the Elders Group I find it very interesting learning about<br />

Aboriginal art and culture, even though we are all <strong>of</strong> different tribes (or mobs) we come together as one<br />

and enjoy sharing our stories. I'm very sure that within ourselves we put those stories into our art. I look<br />

forward to meeting up with the Elders each week.<br />

<strong>The</strong> Condell Park Elders Group is a circle <strong>of</strong> very special and close friends. Although they hail from<br />

many different parts <strong>of</strong> Australia, their unity and sense <strong>of</strong> fam ily stems from reconnecting with their<br />

Aboriginal identity. In terms <strong>of</strong> their artistic practice, they might say that they are all still learn ing their<br />

craft. <strong>No</strong>t limited to ceramics, the Elders also work with jewellery-making, pa inting, sewing and other<br />

creative pursuits. You're always welcome to sit in, have a yarn and a good cuppa tea with them.<br />

<strong>The</strong> Conde II Park Aboriginal Elders Group meets weekly on Wednesday and Thursday<br />

from 10am-2pm, at the Condell Park Community Centre.<br />

Tim Bishop is the Indigenous Arts Officer at the Bankstown Youth Development Services<br />

E: condellparkelders@hotmail.com<br />

Clockwise from top left:<br />

Beverly Gilmartin, Robyn Schmitz<br />

Sheila Fay, Carol Brown, Bev Miranda<br />

lilian Johnson, lola Simmons,<br />

John Simmons, lorna Morgan<br />

Victoria Woods and Vicki Markna<br />

Photo: Walter Auer<br />


Park Young-Sook with M oon Jar, 2006-<strong>2012</strong>, white porcelain installation at the Museum <strong>of</strong> Contemporary Art, Sydney<br />

Photo: courtesy Gallery Hyundai<br />

<strong>The</strong> Moon Project<br />

Park Young-Sook and Yeesookyung and their collaborative work in Sydney<br />

During the recent <strong>2012</strong> Biennale <strong>of</strong> Sydney, Park Young-Sook and Yeesookyung showed <strong>The</strong> Moon<br />

Project, at the Museum <strong>of</strong> Contemporary Art. In this project, Park Young-Sook showed twelve newly<br />

created Moon Jar pieces, and Yeesookyung showed Translated Vase - <strong>The</strong> Moon created from the<br />

ceramic trash <strong>of</strong> Park's failed moon jars that had been saved for over ten years.<br />

Park Young-Sook has dedicated the last ten years <strong>of</strong> her career to reviving moon jars. Her moon jars<br />

are renowned as magnificent contemporary moon jars, distinguishing themselves through their beautiful<br />

shape and colours. "I consider Moon Jars as resemblances <strong>of</strong> our lives because they become a single<br />

whole when their generous acceptances and concessions in the harsh conditions are realised; and this is<br />

much similar to mankind meeting, understanding, and embracing each other."<br />

Moon jars are difficult to make as two separate jars are attached to one another, with the upper<br />

'torso' generally fuller than the lower half, and the top rim <strong>of</strong>ten wider than the base rim. This creates<br />

a structure that is extremely vulnerable to collapse in the kiln. Only one out <strong>of</strong> ten moon jars that Park<br />


<strong>Ceramics</strong>+<br />

Left: Park Young·Soak always prays<br />

before destroying her pots<br />

Photo: courtesy Gallery Hyundai<br />

fires survives the kiln. Her large scale work represents the incredible skill and patience <strong>of</strong> the artist.<br />

Whilst Park Young-Sook's jars have inherited the beauty and spirit <strong>of</strong> those from the Joseon Dynasty.<br />

they are considered to also show a strength not evident in the earlier works.<br />

Before discarding the jars which have not survived the kiln, Park always prays. <strong>Ceramics</strong> are based on<br />

the formation <strong>of</strong> clay, air, fire and natural materials, therefore she prays to Nature before shattering the<br />

fragments. It takes more than 10,000 years for such fragments to once again become part <strong>of</strong> Nature.<br />

She feels that this action is the same as committing a sin against God, so she sincerely prays to Nature<br />

and God before shattering the pieces.<br />

Below: Park Young·Soak destroying pots which have not survived the kiln; photo: courtesy Gallery Hyundai<br />


Yeesookyung; photos: courte sy Gallery Hyundai Yeesookyung, Translated Vase - <strong>The</strong> Moon, <strong>2012</strong><br />

It is from the shards <strong>of</strong> these shattered moon jars that Yeesookyung's work is born. Yeesookyung is<br />

an artist who perceives artistic creation as a healing procedure. "I am really interested in things that<br />

are broken, deserted, and have failed, because I believe that is the turning point <strong>of</strong> art being reborn.<br />

A broken ceramic piece finds another piece and they rely on each other. <strong>The</strong> crack. which symbolises<br />

the wound, is emphasised with 24 carat gold gilding. This work is a metaphor <strong>of</strong> a struggle for life that<br />

makes people become more mature and beautiful as they overcome suffering." In Korea, ceramics are<br />

made with deep delicate craftsmanship, and less than 30 per cent <strong>of</strong> all created ceramics are kept. <strong>The</strong><br />

rest, even those with the slightest flaws. are shattered and thrown away. When Yeesookyung puts these<br />

broken pieces into an artwork, she sees this as rebuilding broken parts within herself.<br />

Yeesookyung gathered together the broken fragments <strong>of</strong> Park's jars and reformed them into a sphere.<br />

symbolising eternity and the eternal cycle <strong>of</strong> life. She feels that the sphere, made from white moon jar<br />

shards, is a reminder <strong>of</strong> the full moon, one that fulfills our desires and holds miraculous energy.<br />

For the exhibition, twelve moon jars were selected for their various shapes and forms, representing<br />

the twelve signs <strong>of</strong> the zodiac and the twelve months <strong>of</strong> the year. A western view is that twelve months<br />

repeat endlessly every year, whereas the eastern view is that elapsing time is interpreted as endless<br />

circulations and repetitions <strong>of</strong> nature. <strong>The</strong> twelve jars were placed in a circle surrounding Yeesookyung's<br />

pieces . Park admits to feeling guilty about destroying failed pots because she produces them from<br />

soil with the help <strong>of</strong> fire and water. However, "through the hands <strong>of</strong> Yeesookyung, the shattered and<br />

unaccepted pieces are born again as new pieces <strong>of</strong> art". To her, that is another circulation and she<br />

believes it is at this creative point that contemporary art and ceramic art meet.<br />

An intense contrast is raised between the aesthetics <strong>of</strong> perfection that is being inherited and<br />

reinvented through Young-Sook. and the aesthetics <strong>of</strong> contemporary art that borrows the traditions<br />

<strong>of</strong> modern art and resurges through Yeesookyung's work. <strong>The</strong> two artists' collaboration, though, does<br />

not depict the contrast itself, but the many coincidental beauties that arise through the fusion <strong>of</strong> two<br />

different times, aesthetics and cultures.<br />

Our thanks go to Gallery Hyundai in Seoul, Korea, for their assistance with the article.<br />

www.galleryhyundai.com<br />


Up the Writin g Path<br />

<strong>The</strong>re is <strong>No</strong> Still in Real Life<br />

Pru Morrison shares the outcome <strong>of</strong> her participation<br />

in Owen Rye's creative wri ting course<br />

I first discovered the thrill <strong>of</strong> opening a crayon box <strong>of</strong> delicious colours and unwrapping a carefully<br />

cubed block <strong>of</strong> school grade brown clay in the 1960s at preschool in Broken Hill NSW. This was a<br />

mining community and a trade union town. People were both laidback and eccentric and always ready<br />

to express views on current politics and global conditions with irreverence and humour. <strong>The</strong> knowledge<br />

that every story had its own gestation period was an unspoken detail but very well understood. Saturday<br />

morning was the time everyone came into town to pick up racing tips and mail and to do the weekly<br />

shop. <strong>The</strong> old hands mingled with the newcomers and station people from a few hundred miles back <strong>of</strong><br />

beyond. Tight-mouthed, underground foremen and well dressed, hard faced miners mingled with tank<br />

sinkers and union <strong>of</strong>ficials who came in for a spree. <strong>The</strong> two-up king who was on nodding terms with<br />

half the town mingled with the women who pushed prams and the nurses who sold buttons for the<br />

hospital. I was perched on a stool next to the buttons, representing my aunty who was matron <strong>of</strong> the<br />

base hospital. <strong>The</strong> trombones and tambourines <strong>of</strong> the Salvation Army played on the post <strong>of</strong>fice steps as<br />

the people gathered to toss silver coins into the captain's hat, despite the tirades on the theme <strong>of</strong> sin,<br />

betting and beer because "<strong>The</strong> Army plays for the people's soul". <strong>The</strong>se impressions as a child stirred an<br />

instinct for gathering and interpreting stories.<br />

In the 1980s, after two years studying art in Newcastle, I moved to Sydney to do a BA in Art at the<br />

City Art Institute. I majored in photography and became interested in the work <strong>of</strong> Diane Arbus (1923-<br />

1971 ) and Garry Winogrand (1928-1984). Arbus <strong>of</strong>ten photographed socially unique people, such as<br />

identical twins, middle-aged nudists, and circus performers. Winogrand took a seemingly more realistic<br />

view. His photographs <strong>of</strong> people in apparently ordinary activities and settings are actually interpretations<br />

<strong>of</strong> human foibles that can evoke strong emotion.<br />

It was an optimistic and lucky time to be studying art but it was also very hard . <strong>No</strong>body had any<br />

money. We lived in gloomy shared accommodation in various locations between Darlinghurst and<br />

Broadway existing on fortnightly food packages sent by our families on the overnight tra in to Sydney.<br />

We shared clothes from op shops and put newspaper between our blankets in the winter for insulation<br />

and sometimes we showered for free at Central train station. We spent most <strong>of</strong> our time in galleries<br />

and libraries. Initially they were a source <strong>of</strong> comfort but later they became valuable places to gather<br />

knowledge and immerse in art. We walked everywhere and the prospect <strong>of</strong> chancing upon a story to<br />

photograph was on every corner. <strong>The</strong> Whitlam Government had legislated for massive social reforms<br />

both progressive and forward thinking, so tertiary fees were paid by the Government in an effort to<br />

make university education accessible to working class <strong>Australian</strong>s. <strong>The</strong> rapid social changes were initially<br />

very popular but eventually the government spent more money than they had, which led to economic<br />

stagnation with high inflation and an increase in unemployment.<br />

On completion <strong>of</strong> my studies I found work in a photographic lab spending 45 hours a week in a<br />

dark room for imbalanced wages based on gender and unhealthy work practices. After two years I was<br />

looking pale and sickly and went to Europe for a holiday. It lasted 10 years. I worked in various jobs and<br />

recorded impressions and ideas using drawing and doodling.<br />

I returned to an arts practice in 2000 on completion <strong>of</strong> a Diploma in <strong>Ceramics</strong> at South bank TAFE,<br />


Up the Writing Path<br />

1999 first test tiles <strong>of</strong> terra sigiUata<br />

on stoneware<br />

Opposite page, top:<br />

Margaret Dodd and Pru Morrison<br />

<strong>The</strong> Pleasure Dome, 2008<br />

porcelain and terra sigiUata<br />

h.17.5em, w .15em, d.37.5em<br />

Photo: Clayton Glen<br />

OppoSite page, bottom:<br />

Margaret Dodd and Pru Morrison<br />

Delphine - <strong>The</strong> Reel Thing, 2008<br />

porcelain and terra sigillata<br />

h.17em, w.12em, d.42em<br />

Photo: Clayton Glen<br />

in Brisbane. I have <strong>of</strong>ten been asked why I chose to return to art in the discipline <strong>of</strong> ceramics and I<br />

can only say that I knew very little about the medium and the process and that was its singular appeal<br />

- not knowing it. While in a glaze technology class at Southbank TAFE, I worked on a process to<br />

produce the fine slip known as terra sigillata. This was initially conceived as a means to exploit drawing.<br />

Predictably the pottery <strong>of</strong> ancient Greece became a significant influence. Through my investigations <strong>of</strong><br />

this I discovered a parallel to what is at the core <strong>of</strong> social photography. <strong>The</strong> ancient Greek potters and<br />

contemporary social photographers have both used their craft to record people, places and events. <strong>The</strong>y<br />

have explored the social landscape using symbols set within a repertoire <strong>of</strong> scenes, with themes ranging<br />

from mythological subjects to transvestites, harnessing a chariot to a suburban RSL, an animal frieze to<br />

a dementia unit. <strong>The</strong> topics, although poles apart, compare as testimonials intended to illustrate and<br />

document how people live.<br />

In 2008 I worked as part <strong>of</strong> a collaborative group with South <strong>Australian</strong> artist Margaret Dodd. I first<br />

met her while having a show at Ray Hughes Gallery in 2007. We developed a friendship and in 2008<br />

she invited me to Adelaide to work as part <strong>of</strong> a collaborative exhibition at the JamFactory. She received<br />

support and assistance for the exhibition from Arts SA with a New Work Grant. Dodd was part <strong>of</strong> the<br />

funk movement that originated in Davis, California during the 1960s. Her work has centred on the FJ<br />

Holden as an <strong>Australian</strong> icon, a topic that she continues to explore today through sculpture, video, film<br />

and installation. Funk art <strong>of</strong>ten contained vulgar humour which, although funny and absurd, <strong>of</strong>ten held<br />

a more serious undertone. <strong>The</strong> ceramics were unrefined and blatant and they all possessed the idea <strong>of</strong><br />

functionless sculpture for sculpture's sake.<br />

<strong>The</strong> collaborative partnership was <strong>of</strong> significant value. My technique noticeably changed. I slowed<br />

the process down and nurtured pieces by setting them aside for stretches <strong>of</strong> time to allow the whole<br />

body <strong>of</strong> work to develop together. I learned that the practical notions <strong>of</strong> negotiation and participation<br />

fuel the desire for knowledge. Collaboration also disrupts the popular image <strong>of</strong> the artist as a solitary<br />


Up the Writing Path<br />

left, detail, and opposite page: Pru Morrison, Portrait <strong>of</strong> a man at a<br />

window in a landscape with a cow, <strong>2012</strong>, porcelaIn and terra sigillata<br />


Wedge<br />

<strong>The</strong> University <strong>of</strong> Ballarat, Diploma <strong>of</strong> <strong>Ceramics</strong> (TAFE) course has provided in-depth<br />

training for students seeking careers as pr<strong>of</strong>essional ceramics practitioners for the past<br />

25 years.<br />

In the May <strong>2012</strong> state budget, the Victorian government slashed funding to the public TAFE<br />

system and the University <strong>of</strong> Ba llarat subsequently announced the closure <strong>of</strong> many <strong>of</strong> its TAFE<br />

programs, including the Diploma <strong>of</strong> <strong>Ceramics</strong>.<br />

A massive increase in private providers delivering training in 'recreational' courses has created<br />

financial difficulties for the government who are dealing with the problem by redirecting public<br />

system funding toward trade apprenticeships and programs that lead to 'real' jobs. What constitutes<br />

a 'real' job is contentious but, unfortunately the fine arts are a low priority in the new TAFE system in<br />

Victoria.<br />

Our Diploma <strong>of</strong> <strong>Ceramics</strong> program focused on tableware and the creation <strong>of</strong> pots for use, with an<br />

emphasis on design innovation. Students completed set projects with clear parameters and limits.<br />

Techniques were demonstrated and students were required to practise, complete historical research,<br />

experiment with processes and play with the elements in order to produce meaningful, inventive and<br />

practical work.<br />

Many graduates have successful practices in the local area . Some have been recognised for their<br />

design innovation with selection for prestigious international exhibitions such as TALENTE in Germany<br />

and the MINO International Design Award in Japan. Some have participated in national awards such<br />

as Bombay Sapphire Design Discovery Award and the Craft Victoria FRESH Award, and one recently<br />

received the inaugural national Trudie Alfred Bequest Scholarship. Graduates have established the<br />

highly successful Daylesford Reg ional <strong>Ceramics</strong> Co-operative (featured in July 2010 issue <strong>of</strong> JAC,<br />

p86 - 87) that supports ongoing learning and a collaborative approach to marketing.<br />

One <strong>of</strong> the important aspects <strong>of</strong> craft activity is that it brings people together and this is good<br />

for the wellbeing <strong>of</strong> individuals as well as communities. Our TAFE course attracted a diverse group<br />

<strong>of</strong> students with vastly different needs, educational backgrounds and ages. I wonder if anyone<br />

has considered the cost <strong>of</strong> not runn ing the ceramics program in our area? It not only provided<br />

an excellent foundation in ceramics, it promoted tolerance and social inclusiveness and provided<br />

meaningful activity that assisted people's health and engagement with life.<br />

What are the alternatives for those wanting to gain the skills and knowledge needed for<br />

pr<strong>of</strong>essional practice? Degree programs, mentorships, short courses in specialist skills run by private<br />

providers, cooperatives or adult learning centres?<br />

Students will need to be discerning and seek a depth <strong>of</strong> knowledge within the discipline.<br />

Hands-on skill is hard-earned but very rewarding in the long run. <strong>Ceramics</strong> has a long history and<br />

ceramic techniques and processes provide great opportunities for imaginative expression that is<br />

tangible and useful. <strong>The</strong> rich ceramic traditions will continue to inspire and creative individuals will<br />

continue to reinvent and refresh the objects that we live with.<br />

I intend to focus my attention on making now and hopefully inspire and mentor others through<br />

my practice.<br />

Neville French. http://nevillefrench.com<br />


Ceramic Shots<br />

WINNER<br />

Photographer: Shirley Dermer; location: Yackandandah studio, february <strong>2012</strong>; artist: John Dermer<br />

Vttinds tiS tools<br />

Photographer: Bogdan On<strong>of</strong>rei; location: Cucuteni, Romania <strong>2012</strong><br />

Ani,!: Sirin Kocak (Turkey)<br />

Left:<br />

Photographer: Lucille <strong>No</strong>bleza<br />


Ceramic Shots<br />

hands as tools<br />

1 Photographer: Sandra Bowkett<br />

Location: Prasad Workshop Uttam Nagar, New Delhi; 28 February <strong>2012</strong><br />

2 Photographer: Kylie Rose McLean<br />

Location: Central Coast Potters' Society. NSW: 26 May <strong>2012</strong><br />

3 Photographer: Camilla Clarizio<br />

location: my studio in Montreal. Canada; 14 September <strong>2012</strong><br />

4 Photographer: Julia Lecomte<br />

location: Studio Lagrane de Quercy Golsse, Puycelsi, France<br />

23 February <strong>2012</strong><br />

Thanks to the <strong>2012</strong> recipients <strong>of</strong> <strong>The</strong> Trudie Alfred Bequest <strong>Ceramics</strong><br />

Scholarships for judging the Hands as Tools competition.<br />


1 Photographer: Su Hanna; Location: first firing <strong>of</strong> new<br />

kiln at Strathfieldsaye, VIC; April <strong>2012</strong><br />

2 Photographer: Dawn Whitehand; location: ClayMotion<br />

Studio, Dunnstown, VIC ; 23 July <strong>2012</strong><br />

3 Photographer: Graham Boothby; location: Mannum, SA<br />

12 September <strong>2012</strong><br />

4 Photographer: Jeffery Barbeau; Place: Kingston,<br />

Ontario, Canada; August <strong>2012</strong><br />

5 Photographer: Natalie Velthuyzen; Location: my studio,<br />

S August <strong>2012</strong>; Ruby Velthuyzen making a coil pot<br />

6 Photographer: Terry Bouton; location: Studio Quebec<br />

City Canada; January <strong>2012</strong><br />


Studio<br />

Take Two Bowls<br />

Natalie Velthuyzen outlines a simple technique<br />

Natalie demonstrated this project at the <strong>2012</strong> Keane <strong>Ceramics</strong> Open Day. It is a great fun way to work<br />

allowing numerous and versatile results. Both the beginner and more advanced thrower can use this<br />

technique.<br />

Step by step:<br />

1. Throw two bowls, making sure the diameter at the rims is the same.<br />

2. <strong>The</strong> rims <strong>of</strong> the bowls need to be flat and approximately 5-10 mm wide (depending on the size<br />

<strong>of</strong> the bowl). This will make the joining <strong>of</strong> the two rims easier and stronger.<br />

3. When s<strong>of</strong>t leather hard, turn the bowls into a dome shape.<br />

4. Score and slurry the rims and join the two bowls rim to rim; be generous with the slurry.<br />

5. Add a thin coil <strong>of</strong> clay to reinforce the join.<br />

6. You will have a 'balloon' <strong>of</strong> clay that can now be shaped.<br />

7. For s<strong>of</strong>t organic forms, pierce a hole in the balloon at the 50ft leather hard stage and gently alter,<br />

then let it firm up to refine the form further by paddling and scraping back.<br />

8. For a more symmetrical form, wait for the clay to firm up to leather hard stage and refine by<br />

scraping back with a metal kidney or credit card . Pierce a hole in the form as the last step.<br />

Alternative: Try using two pinch pots.<br />

A few ideas to develop the form further:<br />

• Make pebbles, or seal the pierced hole post-firing and you will have a floating form.<br />

• Thread stackable forms on dowel or metal rod to make totems.<br />

• Cut an opening in the form at leather hard stage to make a vessel.<br />

• Thrown, coiled, slab or extruded necks or foot rings can be added to make a variety <strong>of</strong> forms.<br />

Natalie Velthuyzen teaches ceramics at TAFE and the Workshop Arts Centre at Willoughby.<br />

She fits her studio practice around her teaching commitments.<br />


Studio<br />


Shannon Garson 's workshop, Maleny Arts and Crafts Group, August <strong>2012</strong>; photos: Vicki Grima<br />

Winter Workshop on the<br />

Sunshine Coast<br />

In August <strong>2012</strong>, <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association <strong>of</strong>fered a weekend workshop, Under the Surface<br />

- creativity and mark making, with Shannon Garson in her beautiful hometown <strong>of</strong> Maleny on the<br />

Sunshine Coast hinterland. Participants explored a range <strong>of</strong> decorative surface techniques that could<br />

be used on any object, from a handbuilt sculpture through to a finely thrown porcelain bowl. Shellac<br />

resist, sgraffito and painting with oxides and underglazes were explored on unfired pots brought along<br />

by participants. Discussion about each element <strong>of</strong> the object - the form, the function, the colour,<br />

the composition, the weight and the texture - and how these elements could enhance one a-nother<br />

without taking over from the original idea, was enthusiastically embraced by the group. Shannon's<br />

encouragement and inspiration was infectious, helped along by delicious Hummingbird cake and pots<br />

<strong>of</strong> chai tea served in a selection <strong>of</strong> handmade cups. Lunch at Shannon's house fOllowed by a studio visit<br />

completed a great weekend.<br />

For more images go to www.flickr.com/photos/australianceramics/sets and click on Garson<br />

Workshop.<br />


Works hop<br />

Sgraffito comes from the Italian word 'sgraffire', meaning to scratch. <strong>The</strong> technique involves<br />

incising down through a layer <strong>of</strong> applied slip to the unfired clay body beneath (the clay and slip being<br />

contrasting colours), to produce an outline drawing. <strong>The</strong> technique was widely used in the Middle East,<br />

influencing Mediterranean ceramics in medieval times. <strong>The</strong> technique <strong>of</strong> sgraffito spread throughout<br />

Europe in the 16th and 17th centuries, originating from Italy and<br />

being brought to Germany via master builders and architects.<br />

Sgraffito slipwares were produced in the Po valley, <strong>No</strong>rthern Italy,<br />

at the beginning <strong>of</strong> the medieval period. As the Pisa region became<br />

a primary producer <strong>of</strong> ceramic wares, the style also became traded<br />

across north-western Europe.<br />

This page shows some <strong>of</strong> the images <strong>of</strong> sgraffito<br />

surfaces created at Shannon's workshop in August <strong>2012</strong>,<br />

www.shannongarsonporcelain.com<br />


Join the Pots<br />

A collection <strong>of</strong> images <strong>of</strong><br />

work by Les Blakebrough<br />

from the archives <strong>of</strong><br />

Pottery in Australia (PIA)I<br />

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

<strong>Ceramics</strong> (JAC), 1962-<strong>2012</strong><br />

Collaboration with Bert flugelman<br />

<strong>of</strong> 7 feet high ceramic figures,<br />

based on Aboriginal cave<br />

drawings, at Sturt Workshops<br />

Mittagong. Heavily grogged<br />

Mittagong earthenware. 1150"(<br />

in reduction; PIA, Vo! 1 <strong>No</strong> 2 1962<br />

Group <strong>of</strong> stonevvare pots<br />

1962 PIA, <strong>Vol</strong> 2 <strong>No</strong> 1 1963<br />

Photograph Oavid Moore<br />

PIA, <strong>Vol</strong> 3 <strong>No</strong> 3 1964<br />

POI I ERY<br />


Broken Hill felspar glaze<br />

1300"C; PIA, <strong>Vol</strong> 4 <strong>No</strong> 1<br />

1965<br />

14" square plate woodash<br />

glaze with iron glaze trailing.<br />

Exhibition, Johnston Gallery<br />

Brisbane, 1966. Purchased by<br />

University <strong>of</strong> Oueensland<br />

PIA, <strong>Vol</strong> 5 <strong>No</strong> 2 1966<br />

Slab flower container<br />

Mittagong rock glaze; h. 12"<br />

Macquarie Gallery Exhibition<br />

July 1967; Photo: Harry<br />

Sowden PIA, <strong>Vol</strong> 6 <strong>No</strong> 2 1967<br />

Porcelain sphere<br />

Diam.14cm;<br />

from exhibition,<br />

Saddlers Court,<br />

Richmond, TAS<br />

1974; PIA, <strong>Vol</strong><br />

14 <strong>No</strong> 1 1975<br />

Iron glaze, applied<br />

seal decoration; h.14"<br />

Exhibition: <strong>The</strong> Craft<br />

Centre Victoria. Photo:<br />

Douglas Thompson<br />

PIA <strong>Vol</strong> 10 <strong>No</strong> 2 1971<br />

Vase 1973 Stoneware, slabs <strong>of</strong><br />

clay cut with twisted wire. iron<br />

glaze, 1300"C, oil fired,<br />

h. 32cm. from travelling<br />

exhibition <strong>Australian</strong> <strong>Ceramics</strong><br />

Photo: Douglas Thompson<br />

PIA, <strong>Vol</strong> 13 <strong>No</strong> 2 1974<br />

Group <strong>of</strong> slab and wire-cut forms. Oxide and woodash<br />

surface; h.12cm, 29cm, 36cm; 1300"C; Macquarie<br />

Galleries. Photo: Ge<strong>of</strong>f Parr; PIA <strong>Vol</strong> 15 <strong>No</strong> 2 1976<br />


Join the Pots<br />

PIA, <strong>Vol</strong> 16 <strong>No</strong> 1 1977<br />

· ..... .... .......... .<br />

Porcelain form, 18cm<br />

x 16cm. Macquarie<br />

Galleries, Sydney 1975<br />

PIA, <strong>Vol</strong> 15 <strong>No</strong> 1 1976<br />

Matt-glazed stoneware<br />

PIA, <strong>Vol</strong> 17 <strong>No</strong> 2 1978<br />

Wall Banners (1982) Stoneware tiles and<br />

lacquer screens on stainless steel supports<br />

Overall size 3m x 5.5m. Client: University<br />

<strong>of</strong> Tasmania. location: Sir Stanley Burbury<br />

<strong>The</strong>atre, University <strong>of</strong> Tasmania. Photo:<br />

Uffe Schultz, PIA, <strong>Vol</strong> 23 <strong>No</strong> 2 1984<br />

Sphere 1 Scm high, unglazed porcelain<br />

blue and red glaze trailed 1984<br />

PIA, <strong>Vol</strong> 24 <strong>No</strong> 2 1985<br />

, have a need to make things. I enjoy<br />

making things. It doesn't matter much what<br />

the things are, I am as much 'at home'<br />

building buildings - workshops or houses,<br />

kilns and furnaces - as I am making pots;<br />

so as much as anything it's the activity that<br />

assumes a major role. ". When it gets down<br />

to object making, the essential aspect is to<br />

create something elegant and beautiful.<br />

I'm not mterested in making social or<br />

political comment through the work; both<br />

are too transient to maintain a continuing<br />

involvement.<br />

PIA, <strong>Vol</strong> 26 <strong>No</strong> 3 1987<br />

Vase,<br />

porcelain<br />

PIA. <strong>Vol</strong> 27<br />

<strong>No</strong>2 1988<br />

PIA, <strong>Vol</strong> 26 <strong>No</strong> 3 1987<br />

Retrospective touring exhibition 1989.<br />

Photo: John Farrow and Uff. Schultz<br />

PIA, <strong>Vol</strong> 2B <strong>No</strong> 3 1989<br />


Trade<br />

To Sell or <strong>No</strong>t to Sell<br />

(that is the question)<br />

Potters discuss their experiences with online selling<br />

Online selling has become very popular in the last few years with a proliferation <strong>of</strong> online market places<br />

selling handmade products. We asked our members to tell us about their experience with online selling<br />

and here's what they had to say.<br />

Where do you sell online? Etsy, your own online shop, Ebay or some other way?<br />

<strong>The</strong> most popular avenues were sites such as Etsy, bigcartel and hardt<strong>of</strong>ind, followed by selling directly<br />

from their own websites. Many potters use PayPal to facilitate easy online payments.<br />

What are the benefits/downfalls <strong>of</strong> selling online?<br />

One <strong>of</strong> the biggest benefits <strong>of</strong> online marketplaces is the low cost associated with setting up your online<br />

store within the main site, and the administrative and marketing side <strong>of</strong> sales which is taken care <strong>of</strong> by<br />

the site in varying degrees. Money from sales is deposited into your account on a monthly basis. <strong>The</strong><br />

seller has to organise postage and maintain their personal site within the marketplace. "Etsy culture is<br />

supportive, friendly, understanding and helpful," says Wendy Hodgson.<br />

Opening yourself up to a wider audience is another major benefit. "I have made beneficial business<br />

contacts via my Etsy shop, such as getting my work into Finders Keepers market via the Etsy Sydney<br />

Team stall, along with other invitations to take part in artisan/craft markets and marketing events," says<br />

Denise McDonald<br />

<strong>The</strong> biggest downside <strong>of</strong> selling online seems to be the high cost <strong>of</strong> postage. It makes sending certain<br />

items prohibitive and this discourages buyers. Some respondents also found it tedious maintaining their<br />

site and keeping it up-to-date. Toni Parks said, "I need time to photograph work, write newsletters, post<br />

images to the shop and blog etc."<br />

Another downside 'is that some online marketplaces such as Etsy have a large (and growing) number <strong>of</strong><br />

people on their site. This can make it difficult for clients to find you, and they can become distracted by<br />

other sellers on their way to you.<br />

How do you get the word out that you are selling online?<br />

Social media plays a big part in 'getting the word out'. Potters use Facebook and Linkedln as veh icles for<br />

letting people know that they sell online and where they can be found.<br />

Advice included using your website URL on all marketing material such as business cards, postcards,<br />

Facebook and the <strong>Australian</strong> <strong>Ceramics</strong> Directory page. Many use market days and events to hand out<br />

business cards and other marketing material. Ric Pierce from One Tree Hill Pottery says, "We hand out<br />

our cards to people visiting our real shop, advertise on Facebook occasionally, and actively engage in<br />

blogs, Facebook and Linkedin. We also have a subscription list for a (roughly) quarterly newsletter."<br />

Many potters commented that once they started advertising, 'word <strong>of</strong> mouth' took over.<br />


Trade<br />

Do you sell overseas, or only within Australia?<br />

"My first Etsy sale was to the Isle <strong>of</strong> Skye in Scotland. Because <strong>of</strong> the shipping costs by airmail being<br />

almost twice the cost <strong>of</strong> my sculpture, the buyer chose to receive it by sea freight. Nearly eight months<br />

after sending it, I got an ecstatic phone call at 3am telling me it was erected in her garden. I have since<br />

sold to Vancouver (twice), Montreal (once), and Jakarta (<strong>Australian</strong> expats), and I have a mUlti-piece<br />

commission in the works for a farm in northern England," said Jennifer Collier.<br />

<strong>The</strong> answers were quite evenly split between potters selling only within Australia and those selling<br />

overseas and Australia wide. <strong>The</strong> high cost <strong>of</strong> postage plays a big part in where items are sent.<br />

<strong>The</strong>se next few questions elicited a mixed bag <strong>of</strong> responses.<br />

Are your online sales going well?<br />

"Just enough to keep me busy." (Helena Griffiths, HG Pottery + Art Studio); "<strong>No</strong>t really, very few sales."<br />

(Belen, Big Bamboo Jewellery); "Sales go very well after appearances in magazines - not advertising, just<br />

editorial - and they go well when I promote myself, but if I go quiet everything drops <strong>of</strong> quickly." (Toni<br />

Pa rk); "I call my online sales my 'background sales hum'. <strong>The</strong>y just quietly tick over. <strong>The</strong>y are on the<br />

increase, but small scale." (Denise McDonald); "Sales are slow, low numbers and infrequent. <strong>The</strong>y do<br />

not compare with bricks and mortar stores where I have been selling for some time." (Chris Plumridge,<br />

Claystone Pottery)<br />

What sells best online?<br />

"It seems that small personal items sell best as these are low cost and low risk as the purchaser is using<br />

their credit card to make the purchase." (Chris Plumridge, Claystone Pottery); "One-<strong>of</strong>f pieces and<br />

personalised items." (Emily Laszuk); "Small things, not one <strong>of</strong>f pieces." (Sian Thomas); " Higher value<br />

items that are well above 75% <strong>of</strong> the cost <strong>of</strong> shipping, sell very well. Anything under $100 ends up<br />

costing too much (by value) to ship/post/airmail." (Jennifer Collier)<br />

Do you have repeat customers?<br />

"I have had the occasional repeat customer who has looked on my website and seen a different product<br />

that wasn't on hardt<strong>of</strong>ind. "(Gabi Sturman); "<strong>No</strong> repeat customers yet! But I do get sales via friends<br />

<strong>of</strong> previous customers - picking up on that trend/peer influence factor." (Toni Park); "Some are repeat<br />

customers but most have been to our real shop before they purchase online." (Ric Pierce, One Tree Hill<br />

Pottery); "Yes I have many repeat customers. I've also had customers who say they are so glad they<br />


say there is a distinct lack <strong>of</strong> us in the <strong>Australian</strong> online marketplace. (Denise McDonald)<br />

Thank you to all the members who participated in this discussion.<br />

If you are interested in selling online, here is a list <strong>of</strong> marketplaces to start:<br />

www.etsy.com<br />

www.hardt<strong>of</strong>ind.com.au<br />

http://bigcartel.com<br />

http://downthatlittlelane.com.au<br />

www.andable.com<br />

www.bluecaravan.net<br />



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

Education<br />

<strong>The</strong> Rainbow Fountain<br />

Adrienne Mann writes about her time in the Artist in School program at<br />

Monash Special Developmental School<br />

After being successful with the funding submission to Arts Victoria for an Artist in School program at<br />

Monash Special Developmental School, I was full <strong>of</strong> hope and overjoyed at the prospect <strong>of</strong> running a<br />

20-week arts program with the students.<br />

I am a ceramic artist and I have worked at Monash Special Developmental School in Melbourne for<br />

seven years as an Educational Support Officer. It is a school for children with developmental delays and!<br />

or intellectual disabilities. Many <strong>of</strong> the students have a co-morbid diagnosis, including Autism Spectrum<br />

Disorder. <strong>The</strong> students range in age from 2.8 to 18 years.<br />

<strong>The</strong>re was no ceramics program available to the students, and as I wanted our children to experience<br />

the joy <strong>of</strong> working with clay, I saw the advantages <strong>of</strong> running a ceramics program at my school.<br />

<strong>The</strong> ceramics project commenced in second term last year (2011). Every week the children would<br />

come through the door into the studio with enthusiasm, questions and happy smiles. <strong>The</strong>y really looked<br />

forward to their sessions with clay. I noticed with some <strong>of</strong> the students that it lifted their spirits and gave<br />

them more confidence. It was a big learning curve for them all. Some students overcame major sensory<br />

issues and there were significant positive outcomes in all students.<br />

<strong>The</strong> fact that I had worked at the school for many years provided me with an invaluable insight for<br />

delivering such a program. Knowing each child's strengths enabled me to tailor the program so they<br />

would get maximum hands-on experience with the clay. <strong>The</strong> students were actively involved in all<br />

processes <strong>of</strong> the making <strong>of</strong> the giant beads that were to form the sensory water feature.<br />

<strong>The</strong> students made the beads by pressing clay into various sized bowl-shaped moulds. <strong>The</strong>y learned to<br />

cut clay, make slip, score clay, roll coils and join the hemispheres together to make the bead shapes that<br />

formed the basis <strong>of</strong> the sculpture. This technique enabled the students to actually make the artworks<br />

themselves.<br />

1 Cassie scoring the clay ready for joining 2 Bryn pressing the clay into the mould 3 Nicholas showing <strong>of</strong>f his work<br />

4 Shaun applying the glaze

Education<br />

Nathan (aged 15 years), one <strong>of</strong> the students who took part<br />

in the art program, said, "I love it. It's real impressive (that's the<br />

word I use now)! So awesome. I really liked the classes. <strong>The</strong>y<br />

were fun. I feel happy, proud we made something awesome for<br />

the whole school. "<br />

<strong>The</strong>re was great excitement when it was time to decorate the<br />

beads. We scored, scratched, etched, stamped and embossed<br />

the clay to make wonderful decorative surfaces.<br />

After the first firing the beads were glazed using a wipe-on,<br />

wipe-<strong>of</strong>f method to enhance the textured surfaces, after which<br />

they were fired again .<br />

To prepare the site for the sculpture, a concrete-lined reservoir<br />

to hold the water was poured and the metal poles onto which<br />

the beads were to be threaded were concreted into the garden.<br />

<strong>The</strong> garden around the sculpture was then landscaped with tan<br />

bark and river pebbles.<br />

Finally, the sculpture was ready for the grand opening, at which a PowerPoint presentation <strong>of</strong> photos<br />

<strong>of</strong> the children was shown. <strong>The</strong> child ren were so proud <strong>of</strong> their achievement, taking ownership <strong>of</strong> the<br />

area with great pride. <strong>The</strong> whole school community was enthusiastic and interested in what the children<br />

had created.<br />

<strong>The</strong> finished work stands as an enduring testament to all our efforts and hard work. It is there for the<br />

whole school community to enjoy now and in the future. I receive positive comments on a daily basis<br />

from staff, parents and students. It was a very worthwhile experience for us all.<br />

Adrienne Mann is a ceramic artist, photographer and teachers assistant. She is currently<br />

completing a Diploma <strong>of</strong> <strong>Ceramics</strong> and a Certificate <strong>of</strong> Drawing and Design at Chisholm TAFE<br />

in Melbourne; www.adriennemann-ceramics.com.au.<br />

Monash Special Developmental School, Wheelers Hill, Victoria; http://monashsds.vic.edu,au<br />

Technical: <strong>The</strong> beads were made by pressing the day into bowl-shaped moulds <strong>of</strong> different<br />

sizes and joining them w ith slip and coils to make the bead. Clayworks Sculptural Coarse<br />

Stoneware was used. <strong>The</strong> underglazed work was fired to 1280°C in oxidation.<br />

5 Students paddling the clay beads 6 Cassie applying glaze 7 Prisha and Nathan decorating the beads<br />

Above: Adrienne Mann, ceramic artist, with the completed project; photos: courtesy Adrienne Mann

~-- -<br />

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

Artist in Residence<br />

Miki Oka Brings a Japanese<br />

Touch to <strong>Ceramics</strong> Classes in<br />

the Centre<br />

Patrick Nelson reports on Charles Darwin University's latest resident artist<br />

While many <strong>Australian</strong>s might opt for a good<br />

cup <strong>of</strong> billy tea, visiting ceramic artist Miki Oka's<br />

preference is for high tea, as it is prepared in her<br />

native Japan~<br />

Miki, who spends most <strong>of</strong> her creative time in a<br />

studio near Hiroshima, was the artist in residence<br />

at Charles Darwin University's Alice Springs<br />

campus for a month during July/August <strong>2012</strong>~<br />

She worked alongside several ceramics students,<br />

turning sake cups, rice bowls and vases on the<br />

electric wheel as well as building a variety <strong>of</strong> nonutilitarian<br />

objects, such as a dog and a chicken,<br />

by hand.<br />

"First I found it hard to use the wheel because it turns anti-clockwise [in Australia!. opposite [to that]<br />

in Japan," she said . "And the clay is different. We have terracotta clay too, but I am used to red clay<br />

which is stronger and sets in a hotter kiln."<br />

Miki described her body <strong>of</strong> work as a representation <strong>of</strong> the friendships and associations she makes<br />

in life, with people, places and things. "Dogs are an important part <strong>of</strong> life in Alice Springs and I have<br />

befriended the dog, Gus, where I am living. I have made a large sculpture inspired by Gus, that is part<br />

Gus and part me. Perhaps it is really a self-portrait."<br />

This is the fourth trip to Australia for Miki, who undertook English language studies in Canberra in<br />

2005 after having graduated from the Kyoto Saga Art University <strong>of</strong> Fine Art with a ceramics major.<br />

"I came to Alice Springs to investigate Indigenous art. I like their dot paintings and their use <strong>of</strong> colour<br />

... and their style inspires me. <strong>The</strong> environment is extraordinary too. I went camping under the Milky<br />

Way and saw shooting stars. We cooked on an open fire place and I had some billy tea."<br />

Miki said high tea ceremonies in Japan involved a special preparation and presentation <strong>of</strong> powdered<br />

green tea. "We use special ceramic cups and high quality tea," she said.<br />

Miki held a short exhibition, Sunbeams, in the library at Charles Darwin University's Alice Springs<br />

campus in late August <strong>2012</strong>. She exhibits regularly in Hiroshima, Tokyo and other Japanese cities.<br />

www.cdu.edu.au<br />


Collection<br />

Pots by Justin Lambert, USA; photo: Esa Jaske<br />

EsaJaske<br />

I bought my first ceramics pieces as part <strong>of</strong> my fine art collection - a major commission from Penny<br />

Smith, and a few pieces by Mitsuo Shoji, Ryoji Koie and Peter Masters. I then started acquiring various<br />

handmade functional pottery pieces for everyday use, and at some stage came across wood fired pots<br />

whose fascinating beauty immediately grabbed my attention and imagination. I hardly ever buy nonwoodfired<br />

pots any more, whilst the woodfired collection keeps on growing (I did though make an<br />

exemption recently for a pitcher by Warren MacKenzie).<br />

I don't mind purchasing online, since ceramic pots are relatively affordable and potters tend to do a<br />

good job in wrapping their wares properly, <strong>of</strong>ten in double boxes. (I have received a broken pot only in<br />

about one per cent <strong>of</strong> shipments.) US shipping costs are also quite reasonable for smaller pieces (less<br />

than 4 pounds, about 2 kg). A good place to start looking for pottery is etsy.com, a forum for artisans<br />

to sell their ware online (search for 'wood-fired pottery'). I also use reputable US galleries specialising in<br />

ceramic objects, such as Schaller Gallery in Michigan and AKAR Gallery in Iowa City.<br />

In Australia I prefer visiting artists' studios to meet the makers themselves.<br />

My appreciation <strong>of</strong> pottery has taken me to unexpected places - I'm now a full time ceramics student<br />

at Brookvale TAFE, and soon to fire my own pieces in a wood kiln there.<br />

www.etjcollection,org<br />


Co llection<br />

Emile Galle: artist, activist,<br />

herborist, ecologist<br />

Patsy Hely discusses a favourite work from the ceramics collection at the NGA<br />

I first saw this handsome Emile Galle vase at the National Gallery <strong>of</strong> Australia (NGA) when I moved to<br />

Canberra in late 2001; it's still on display and I've had many opportunities to consider it over this time.<br />

Through this process <strong>of</strong> looking and thinking, I've found myself drawn into Galle's oeuvre and have<br />

come to a new appreciation <strong>of</strong> his work in glass and wood as well, work I'd previously thought <strong>of</strong> as<br />

gaudy and over-produced.<br />

Galle's ceramics have attracted less critical attention and esteem than his work in other materials and<br />

overall his output in this area is uneven. His work in glass, where he utilised nature less as decorative<br />

schema and more as an overall conceptual motif, is particularly inventive. Here he took advantage <strong>of</strong> not<br />

just form and surface to express ideas, but built up colour and image throughout the glass matrix with<br />

the result that some <strong>of</strong> his glass forms suggest entire ecological complexes, mini worlds in themselves.<br />

But there are outstanding examples <strong>of</strong> his work in ceramics and the NGA vase is one. At almost<br />

45 cm tall, the vase has a strong vertical presence accentuated by the verticality <strong>of</strong> the plant forms<br />

floating - hovering almost - over its surface. <strong>The</strong> earthenware form appears to have been made in a<br />

mold because it has the well-delineated surface that comes from compression <strong>of</strong> clay particles against<br />

a plaster surface. <strong>The</strong> form is organic, tree-like, with striated texture suggestive <strong>of</strong> bark, the clay light<br />

and the tin glaze smooth and cream coloured. <strong>The</strong> imagery, hand-painted with finely rendered detail,<br />

is described in the NGA catalogue as 'painted underglaze decoration '!, though to me its richness and<br />

intensity suggests onglaze enamel.<br />

<strong>The</strong> vase is inscribed 'E. GalielNancy', though the extent <strong>of</strong> Galle's participation in its production is not<br />

clear. Describing his glassworking process in 1889, and presumably it was similar for ceramics, he wrote:<br />

My personal involvement consists above all in devising ideas for glass that are both sublime<br />

or tender, <strong>of</strong> carefully composing friendly or tragic faces for it, <strong>of</strong> assembling the different<br />

elements, <strong>of</strong> preparing in advance the realisation <strong>of</strong> my future works, <strong>of</strong> matching the<br />

technique to the preconceived work, <strong>of</strong> balancing the risks between success and failure, whilst<br />

carrying out the decisive operation that would have been called the main work. 2<br />

<strong>The</strong> plant depicted on the vase is almost identical to a plant shown in a design, Papyrus sur fond<br />

nuage (papyrus on cloud background) used in his Service flora f3 manufactured around 1881 . Although<br />

usually identified with Egypt, papyrus grows in parts <strong>of</strong> France and its botanical, illustration-like<br />

treatment, when translated onto ceramic form, suggests it was drawn from life. <strong>The</strong> marks that ad as<br />

clouds in the design on paper are also on the vase, where they further model and accentuate the barklike<br />

striations. But papyrus is a freshwater reed found usually in damp or swampy areas and these cloud<br />

marks on the vase also suggest, especially when picked out by the gallery lighting, the glinting <strong>of</strong> sun<br />

on water. Lit like this, the motif turns the bark striations to ripples and the papyrus branches appear to<br />

dance over a gently lapping watercourse. In just that one motif then, water, air and land are all indirectly<br />

yet cleverly represented .<br />


Emile Galle<br />

Nancy, France<br />

1846-1904<br />

Vase, 1879 - 89<br />

Nancy. france<br />

Dec",at"'" Arts and<br />

DesIgn<br />

C",amlC earthenware<br />

with painted<br />

underglaze dec"'atlOll<br />

Prllnary lme:<br />

inscnbed on underWe<br />

E. GaIIelNancy<br />

h.44.9cm. w.2Ocm,<br />

d.22.6cm<br />

Purchased 1988<br />

Accession <strong>No</strong>:<br />

NGA 88 1504

Collection<br />

Despite its light background, the vase conveys a sombre mood; the plant forms are sober and the<br />

black colouration is melancholy, as are the unfurling dark red ribbon-like forms underneath the plant's<br />

umbel. Galle was a staunch nationalist and regionalist and his opposition to the annexation <strong>of</strong> Alsace­<br />

Lorraine by the Germans in 1871 was well known. References to its loss by France appear in both his<br />

glass and furniture, either quite plainly in text or through symbolic means.<br />

Given this, it's hard to imagine he wasn't intent on conveying a particular sentiment through the<br />

vase and its decoration and it could be that the dark red ribbons are emblematic <strong>of</strong> 10ss.After the<br />

1790 French Revolution and then again in the mid-1800s, around the time the vase was made,<br />

rumours circulated throughout France about events termed bals des victims', dances reputedly held<br />

to memorialise casualties <strong>of</strong> the Revolution. Costumes worn to the bals were heavily symbolic and<br />

for women included the wearing <strong>of</strong> a red ribbon tied around the neck to mark, rather gruesomely,<br />

the trajectory taken by the guillotine. Friends and colleagues <strong>of</strong> Galle's were uprooted by the loss <strong>of</strong><br />

Alsace-Lorraine to Germany, access to the region's mines

Potters Marks<br />

Potters Marks<br />

Barbara Cauvin<br />

Kate Ward<br />

Niharika Hukku<br />

Alex Standen<br />

Shin Koyama<br />


Australia Wide<br />

act<br />

Congratulations to the winners in another<br />

splendid Annual Exhibition <strong>of</strong> work by members<br />

<strong>of</strong> Canberra Potters' Society (CPS). This year the<br />

society welcomed Vicki Grima as selector and<br />

judge. Cathy Franzi won the Doug Alexander<br />

Award for Mt Majura She-oaks; Sue Fisher won<br />

the ActewAGl Tertiary Award with Billabong,<br />

and Bridget Anderson with Beachcomberl<br />

Ocean Treasures won the Craft ACT: Craft<br />

and Design Centre Award. <strong>The</strong> Cesco Award<br />

went to Kate Ward, the C layworks Award for<br />

Handbuilding went to Maryke Henderson, and<br />

the Walker <strong>Ceramics</strong> Award for Wheelthrowing<br />

went to Chris Harford. Two Summer School<br />

workshops are planned for 7-11 January 2013.<br />

Paul Davis will inspire in a wheelwork school<br />

and sculptor Vivienne lightfoot will lead the<br />

eager hand builders. <strong>The</strong> Bald Archys will again<br />

light up the WAC Gallery in February, and in<br />

March, recently elected president <strong>of</strong> CPS Maryke<br />

Henderson will be exhibiting her latest sodaglazed<br />

ceramics in a group showing by artists in<br />

various mediums.<br />

Out on the rural western front, Strathnairn<br />

Arts Association is making great use <strong>of</strong> the<br />

newly refurbished Woolshed as a mUlti-purpose<br />

venue. In the Homestead Gallery, ##Things to<br />

Contemplate##, selected ceramics by Trenna<br />

langdon, will run from 9 to 25 <strong>No</strong>vember, to<br />

be followed in December by the SM Annual<br />

Members Exhibition, Down Studio Road, a<br />

reference to the newly gazetted name for the<br />

access road to Strathnairn.<br />

We look forward to 2013 and the many<br />

celebratory special events planned for the<br />

centenary <strong>of</strong> Canberra. Visit in this very special<br />

year and you will be assured <strong>of</strong> a warm welcome<br />

and lasting memories.<br />

Best wishes for the holiday season,<br />

Jane Crick; E: janecrick@dodo.com.au<br />

nsw<br />

Following the success <strong>of</strong> the Bowled Over<br />

exhibition at Back to Back Galleries two<br />

years ago, it was decided to upgrade it to a<br />

competition in <strong>2012</strong>, Bowled Over Again. <strong>The</strong><br />

response was tremendous with potters from<br />

most states sending bowls. This may well become<br />

a regular gallery event.<br />

<strong>The</strong> relatively new Cessnock Regional Gallery was<br />

fortunate to secure the touring Object Gallery<br />

exhibition HyperC/ay. It is so important for<br />

regional centres to host such exhibitions as they<br />

enlighten the viewers to new ideas, narratives<br />

and techniques cu rrently being investigated<br />

in clay. <strong>The</strong> new gallery Director John Barnes<br />

reported a good critical response, including more<br />

than 60 young adults from a Newcastle high<br />

school, all studying ceramics.<br />

New works by lynda Stone and Angela Verdon<br />

.....-=~-------.,.,...,.. Juicers by<br />

Lynda Stone<br />

were exhibited at Art Systems Wickham. Both<br />

artists have full resumes, with Stone studying<br />

production ceramics under Derek Smith. Verdon,<br />

from the UK, works in bone china, with her<br />

simple forms focused on mass, volume and<br />

shadow with the characteristic translucency<br />

showing at the edges. <strong>The</strong> clay is exquisite.<br />

Stone works in porcelain creating one-<strong>of</strong>f pieces<br />

reflecting her current occupation, teaching in<br />

hospitality. <strong>The</strong> thrown, pierced and altered<br />

domestic utilitarian works are manipulated in an<br />

attempt to 'alter their discourse'. Kitchen utensils<br />

such as sieves and fruit juicers are mounted and<br />

presented as still-life.<br />

Helen Stronach's recent showing at Back to<br />

Back Galleries cemented her reputation as a<br />

noteworthy ceramicist. As a well-regarded fulltime<br />

architect, Stronach's design background is<br />

evident in her confident ceramic forms and her<br />

use <strong>of</strong> color and patterns.<br />

Sue Stewart; sue@ceramicartist.com.au<br />


Aust ralia Wide<br />

qld south east<br />

Clay Art Benowa Gallery had their Mad Hatter's<br />

A fternoon Tea Party with teapots, cups and<br />

saucers, Cheshire Cat dishes, porcelain heart and<br />

Queen <strong>of</strong> Hearts soldier dishes, clay spoons, and<br />

serving platters with cups, proving to be a real<br />

winner.<br />

Congratulations and international accolades to<br />

Leisa Russell who won the prestigious Gold Coast<br />

International Ceramic Art Award. Her intricately<br />

beautiful dress titled 11 Shades <strong>of</strong> Blue,<br />

featured more than 4500 slipcast porcelain coins<br />

over a pure silk dress.<br />

Member Megan Puis was the outright winner<br />

at the Trinity College Art Show, as well as being<br />

winner (on the same night) <strong>of</strong> the Marymount<br />

Art Award with Bloom 2.<br />

<strong>The</strong> Gold Coast Potter' Associat ion 3rd Empty<br />

Bowl Lunch in June raised almost $8000 to feed<br />

the hungry. <strong>The</strong>re were nearly 500 bowls on<br />

show to be bought and filled with food, with<br />

proceeds going to two charities on the Coast.<br />

Stefan Jakob's workshop featuring a woodfired<br />

raku kiln made from an IKEA rubbish bin was<br />

held on the Gold Coast in late October.<br />

We wished <strong>The</strong> Darling Downs Potters' Club well<br />

for their 40th anniversary celebrations held in<br />

Toowoomba in September.<br />

Suncoast Clayworker.s presented the <strong>2012</strong><br />

Ignition Awards for excellence in ceramics, a<br />

national competition held recently in the Butter<br />

Factory Arts Centre. Ignition judge was Jackson<br />

Li, Director <strong>of</strong> Sanbao Ceramic Art Institute,<br />

Jingdezhen, China. Merrie Tomkins (QLD) was the<br />

open winner with her work Rajapura.<br />

Bribie Potters 14th Clay Creations competition<br />

and exhibition will be held from 13-25<br />

<strong>No</strong>vember at the Matthew Flinders Gallery, Bribie<br />

Island Community Arts Centre; whilst the Gold<br />

Coast Potters' Annual Members' Exhibition will<br />

be held in the Clay Art Benowa Gallery from<br />

10--25 <strong>No</strong>vember, with an Art and Crafters<br />

Market Day on the last day. Go to<br />

www.goldcoastpotters.com or their Facebook<br />

page for more information.<br />

Happy potting,<br />

Lyn Rogers, T: (07) 55943307, F: (07) 55943365,<br />

E: romeo-whisky@bigpond.com<br />

Cheshire Cat dishes by Di Buckland<br />

photo: Lynette Rogers<br />

sa<br />

Phew, what a conference! Subversive Clay,<br />

<strong>Australian</strong> <strong>Ceramics</strong> Triennale <strong>2012</strong>, was two<br />

years in the making with many long days and<br />

nights <strong>of</strong> organisation, fundraising and criticalmass-making.<br />

<strong>The</strong>re are too many people and<br />

organisations to thank in this short paragraph,<br />

but one group <strong>of</strong> people who really deserve a<br />

thank you is everyone who came and made it<br />

such a friendly and exciting place to be. <strong>The</strong><br />

fun started for some, pre-conference, with Akio<br />

Takamori and Masamichi Yoshikawa's three-day<br />

masterclasses. <strong>The</strong> teachers Hyp erc/ay workshop<br />

followed with Stephen Bird demonstrating<br />

animation techniques, Jacqueline Clayton<br />

discussed alternative clay bodies (including one<br />

that had the texture <strong>of</strong> marshmallow mixed with<br />

chewing gum), and Rod Bamford demonstrated<br />

and demystified the realm <strong>of</strong> 3D printing. And<br />

then it was Friday, Saturday, Sunday and Monday<br />

in quick succession ... it really was a bit <strong>of</strong> a blur<br />

at times, hangovers notwithstanding. Countless<br />

panels, discussions, demonstrations, slide talks<br />

and openings - we were absolutely spoiled<br />

for choice. In terms <strong>of</strong> the whole 'subversive'<br />

thing, well, there was some deft sidestepping <strong>of</strong><br />

delicate issues, but also many who stepped right<br />

into the ring and said what we're all thinking<br />

and had a go at challenging the status quo.<br />

Other highlights were Neville French winning<br />

the $10,000 Vitrify award (drinks on him) and<br />

Ebony Heidenrich and Anh Thu Pham winning<br />

the Pugmill Emerging Artist and Graduate Award<br />

respectively. <strong>The</strong> favourite demonstration <strong>of</strong> the<br />


Aust ralia Wide<br />

Phil Hart at the wheel<br />

conference<br />

was definitely<br />

Phil Hart's<br />

where he<br />

made a special<br />

portrait <strong>of</strong><br />

Bernard Leach<br />

out <strong>of</strong> pots<br />

chucked on<br />

the floor<br />

with some<br />

colour thrown<br />

around.<br />

<strong>The</strong> Rock the<br />

Frock party<br />

on Sunday<br />

evening saw flamingos and clay people hanging<br />

out with <strong>The</strong> Artisans, a fabulous band that<br />

had everyone up and dancing before long, with<br />

front man Gerry Wedd rocking out. Suffice to<br />

say, Monday was a bit bright and loud for some<br />

<strong>of</strong> us. For a few wonderful days Adelaide was<br />

buzzing with happy, shining, clay people adorned<br />

with orange necklaces, confirming the strength<br />

and generosity <strong>of</strong> the ceramics community we<br />

have in Australia, and, indeed, the whole wide<br />

world. We hope everyone who came had a<br />

fabulous time and those who didn't, you did kind<br />

<strong>of</strong> miss out .. . but there's always next time. Love<br />

Adelaide, South Australia.<br />

Sophia Phillips<br />

E: sophia@sophiaphillips.net<br />

tas<br />

<strong>The</strong> Tasmanian <strong>Ceramics</strong> Association celebrates<br />

its 40th anniversary this year and at its 40th<br />

Annual Exhibition, Forty Years in the Making,<br />

it will be launching an illustrated history <strong>of</strong> the<br />

association compiled by Carolyn Canty. <strong>The</strong><br />

history will include photographs by Robin Roberts<br />

<strong>of</strong> our extensive collection <strong>of</strong> works made by<br />

visiting artists during workshops conducted in<br />

Hobart over the past forty years. As an additional<br />

mark to the anniversary, Grace Cochrane will<br />

give an illustrated talk that considers ceramic<br />

practice in Tasmania in the context <strong>of</strong> its history.<br />

Using the example <strong>of</strong> this and other anniversaries<br />

(including, in Tasmania, the founding <strong>of</strong><br />

Salamanca Place and the Franklin River protests)<br />

and her experience <strong>of</strong> recent exhibition and<br />

publication projects, she will discuss the<br />

importance for contemporary artists <strong>of</strong> archival<br />

documentation <strong>of</strong> significant events. At the<br />

same time, she will refer to some <strong>of</strong> the wider<br />

changing relationships in the crafts between<br />

art, design, industry and the marketplace and<br />

the interface between traditional and new<br />

technologies. We're also having an afternoon<br />

get-together with past members, most <strong>of</strong> them<br />

elderly, who were active in the early years <strong>of</strong> the<br />

Tasmanian Potters Society, as it was then known.<br />

Recent activities have included an inspiring<br />

visit to the studio <strong>of</strong> sculptor Stephen Walker,<br />

a lecture presentation by Hungarian ceramic<br />

artist Marta Nagy, and one <strong>of</strong> our ever-popular<br />

raku firings. As I w rite, an exhibition <strong>of</strong> Dawn<br />

Oakford's latest work is opening in the Rosny<br />

Cottage Gallery. Entitled Wild Tea, it displays a<br />

new collection <strong>of</strong> Dawn's colourful and fanciful<br />

teapots. We are also looking forward to a<br />

weekend workshop by English ceramicist Sandy<br />

Brown in <strong>No</strong>vember.<br />

John Watson<br />

E: john@dmink.net<br />

vic<br />

Congratulations to Stonehouse Gallery on their<br />

40th anniversary, celebrated in Ju ly with an<br />

exhibition, Honouring the Past, Celebrating<br />

the Present & Looking to the Future.<br />

Established in 1972 by eight dedicated potters,<br />

and originally housed in the old Warrandyte<br />

Selby General Store, the name 'Stonehouse'<br />

was chosen to depict this old stone cottage and<br />

to represent the stoneware clays used. In 2005<br />

the gallery moved to its present location in <strong>The</strong><br />

Gospel Chapel in the heart <strong>of</strong> Warrandyte.<br />

<strong>Ceramics</strong> Victoria held a well-attended Print<br />

Workshop using the Hodge inkjet method,<br />

conducted by Jenny and Ken Hodge at<br />

Holmesglen TAFE.<br />

<strong>The</strong> recent bus tour to the Mornington Peninsula<br />

visited Sue Sanderson at Studio 13 for a raku<br />

firing, Kerrie and Ray Lightbody's studio, the<br />

Main Ridge woodfirers, and a local glass studio.<br />

<strong>The</strong> tour finished at <strong>The</strong> Studio at Flinders; a fun<br />

day for all and more tours are planned.<br />

Due to a low number <strong>of</strong> entries, <strong>The</strong> Decal<br />


Australia Wide<br />

Award has been postponed. Cera(Tlics Victoria<br />

has produced two short videos on how to use<br />

decals with an information session planned for<br />

interested entrants. Hopefully with the extra<br />

time frame the award will attract more entries.<br />

<strong>The</strong> new dates for the award, to be held at the<br />

Whitehorse Art Space, are 27 June to<br />

3 August 2013.<br />

Sadly budget cuts by the Victorian State<br />

Government have impacted many courses in<br />

Victoria's TAFE Colleges. Visual Art, Design<br />

and Ceramic courses are amongst those under<br />

threat, despite healthy student numbers. Course<br />

co-ordinators are looking at creative ways to<br />

enable them to continue providing the quality <strong>of</strong><br />

art education accessed via TAFE institutions. We<br />

must continue to positively support these courses<br />

so the infrastructure is not lost and they can be<br />

fully reinstated in the future.<br />

<strong>The</strong> Pottery Expo @ Federation Square <strong>2012</strong> will<br />

be held on Sunday December 2 from 10 am to<br />

5.30 pm. Visit and meet the artists on<br />

wwvv.potteryexpo.com<br />

Glenn England<br />

E: glennengland@optusnet.com.au<br />

wa<br />

CAAWA Members Selective Exhibition was held<br />

at ZigZag Gallery, Kalamunda, in July <strong>2012</strong>, and<br />

was judged by writer and curator Dr Ric Spencer.<br />

Alison Brown's Tide Line Series won the Kusnik<br />

Award and Mary Wallace's Lotus Tea Set, the<br />

Judge's Award. Highly Commended accolades<br />

went to John Blinco, Njalikwa Chongwe,<br />

Stewart Scambler, Cher Shackleton and Danica<br />

Wichtermann.<br />

Hale Art Show invited several ceramicists to<br />

participate - the Scamblers, Amanda Shelsher,<br />

Bev MacMahon, Philippa Gordon, the Zecks, Dee<br />

Jaeger and me (Elaine Bradley).<br />

Alana McVeigh was recently <strong>of</strong>fered a place<br />

at Medalta International Artists' Residency<br />

in Medicine Hat, Alberta, Canada where she<br />

presented a public lecture on her PhD research.<br />

She spent April and May working with senior<br />

artist-in-residence Les Manning, director Aaron<br />

Nelson, and eleven international artists. Alana's<br />

recent work, Hybrid Luminosity was exhibited<br />

in October at Emerge Art Space, <strong>No</strong>rthbridge.<br />

Stewart Scambler's successful exhibition <strong>of</strong><br />

woodfired forms at Gallery East has just ended.<br />

After twenty years, the gallery will soon close<br />

its doors, but continue in a curating/consulting<br />

capacity.<br />

My workshop on print-on-clay techniques at<br />

<strong>The</strong> Potter's Market was a full house, as was<br />

Mary Wallace's workshop on porcelain at Perth<br />

Studio Potters. PSP are overjoyed with their kiln<br />

shed, a consequence <strong>of</strong> four years fund raising, a<br />

$10,000 bequest from former member Yvonne<br />

Cuff, plus Lotteries Commission support.<br />

Fremantle Arts Centre's new ceramics studio has<br />

opened with improved space and equipment<br />

allowing greater opportunities for students to<br />

experiment and learn.<br />

Cher Shackleton drove 700 km north-east to<br />

Sandstone for a raku firing for the Margaret River<br />

artists who travelled north on an adventure. Ian<br />

Dowling attended as co-bus driver and gave a<br />

mould-making demonstration.<br />

Adil Writer, ceramicist (and more) from Bombay,<br />

built a dome at the Beehive Montessori School.<br />

Adil, Katrina Chaytor, Merran Esson, Stefan<br />

Jakobs, Royce McGlashen and Fleur Schell<br />

presented 4 Continents Ceramic Exhibition at<br />

<strong>The</strong> Studio Gallery, Yallingup.<br />

CAAWA's 3-day clayfest, POTober, was a<br />

resounding success at Perth's Central Institute<br />

<strong>of</strong> Technology. <strong>The</strong> stellar line up consisted <strong>of</strong><br />

Katrina Chaytor, Stefan Jakob, Royce McGlashen,<br />

Malina Monks and Merran Esson, plus WA<br />

talents Ian Dowling, Greg Crowe, Njalikwa<br />

Chongwe, Robyn Lees, Bela Kotai, Cate Cosi,<br />

and Andrea Vinkovic. More on this next issue.<br />

Mary Wallace has recently returned from her<br />

second visit as an invited International Artist at<br />

the Gangjin Celadon Festival in South Korea<br />

where invited artists were given workshops by<br />

some <strong>of</strong> South Korea's leading pr<strong>of</strong>essors and<br />

Cultural Treasures. <strong>The</strong> group also visited the<br />

studios <strong>of</strong> many <strong>of</strong> the best potters including a<br />

rare opportunity to meet Shin Sang Ho, described<br />

as South Korea's Picasso.<br />

Elaine Bradley<br />

E: lalab@iinet.net.au<br />


Stockists<br />

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fremantle arts centre<br />

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perth institute <strong>of</strong> contemporary<br />

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potters market<br />

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lopdell house gallery<br />

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Please contact the <strong>of</strong>fice if you<br />

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Sydney inner city pottery supplies: Keane's Clay - discount<br />

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<strong>No</strong>rthcote Pottery Supplies sells a range <strong>of</strong> quality pottery<br />

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Quality supplies and friendly service: A wide range <strong>of</strong> clays<br />

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All underglazes at one low price <strong>of</strong> $32.45 per 500ml bottle,<br />

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Manufacturers and exporters <strong>of</strong> high quality<br />

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Factory outlet is now open at 1/21 Research Drive Croydon<br />

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Come and join us at one <strong>of</strong> our monthly meetings where<br />

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Providing ceramic artists with digital and traditional<br />

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<strong>No</strong>rthern NSW and OLD<br />

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at Moonshill, Tara90 near Goulburn<br />

6 to 11 <strong>No</strong>vember <strong>2012</strong> (Tues to Sun) - Creativity is Play,<br />

6 day workshop with British potter Sandy Brown, $715,<br />

<strong>The</strong> studio is closed 24 December <strong>2012</strong> to 7 January 2013.<br />

17 February 2013 (Sunday, half day workshop): Hakeme<br />

- boldly brushed slip decoration, $55; 24 March 2013 (Sunday):<br />

Coil Challenge - making larger work, $95. Bookings<br />

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Come along to this unique gallery, run by ceramic artists, for<br />

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T: 02 9698 9717: "-WW.clayworkers.com.au<br />


Contemporary <strong>Australian</strong> ceramics and pottery supplies<br />

located in inner city Sydney. <strong>The</strong> gallery features functional<br />

ware, vessels, sculpture and jewellery by emerging and<br />

pr<strong>of</strong>essional ceramic artists; 49-<strong>51</strong> King St. Newtown NSW<br />

2042; E: lowekerrie@gmail.com, vvvvw.kerrielowe.com<br />


Shepparton Art Museum is the premier public museum<br />

servicing <strong>No</strong>rth Central Victoria and has recently reopened<br />

following a major redevelopment. It is renowned for its<br />

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Certificate, Diploma and Advanced Diploma courses in<br />

ceramics - full and part-time attendance; a range <strong>of</strong> short<br />

courses will be available in 2013; enr Kingsway and Hotham<br />

Road, Gymea NSW; T: 02 9710 5001; Find us on www.sil.<br />

nsw.edu.au/ceramics/gymea and facebook "Ceramic Design<br />

Studio - TAFE Sydney Institute".<br />


<strong>The</strong> Diploma <strong>of</strong> <strong>Ceramics</strong> is a skills-based course delivered<br />

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diverse arts business strategies, provides students with<br />

a solid foundation from which they can build careers as<br />

independent arts practitioners, Contact Judith Roberts,<br />

T: 03 9212 5398; E: judith.roberts@chisholm.edu.au<br />


Holmesglen Chadstone Campus: Diploma <strong>of</strong> <strong>Ceramics</strong><br />

<strong>The</strong> scope and vision <strong>of</strong> our Diploma <strong>of</strong> <strong>Ceramics</strong> Course at<br />

Holmesglen is to prepare stude-nts for a career in ceramic art.<br />

We provide a pr<strong>of</strong>essional. well equipped studio environment<br />

and the staff are recognized, practising artists. Our aim<br />

is to inspire individual development and encourage ongoing<br />

levels <strong>of</strong> inquiry. Kim Martin, Course Coordinator <strong>of</strong><br />

<strong>Ceramics</strong> and Visual Arts, T: 03 9564 1942: 03 9564 1716:<br />

www.holmesglen.edu.au<br />


Applications now open for BFA <strong>Ceramics</strong> Major - 3 years<br />

full time; BFA Honours - 1 year full time; MFA - part-time or<br />

full-time. Summer School: 14 - 18 January 2013: A Week on<br />

the Wheel with Cameron Williams and Fire your Imagination<br />

with Jenny Orchard. NAS Cera mic Department maintains<br />

an artist in residence program, international exchanges and<br />

visiting artists. For more information contact Merran Esson,<br />

T: 02 9339 8718 E: merran.esson@nas.edu.au:lfoIWII\I.nas.<br />

edu_au; Forbes St, Darlinghurst, Sydney<br />



<strong>The</strong> Newcastle School <strong>of</strong> <strong>Ceramics</strong> <strong>of</strong>fers a range <strong>of</strong> flexibly<br />

delivered programs. Explorations <strong>of</strong> all aspects <strong>of</strong> ceramics<br />

induding technical, practical and theoretical eventuate<br />

in confident, practising and creative ceramicists. With the<br />

emphasis on customised learning, individual programs, in an<br />

open studio environment, are developed for each student by<br />

nationally acclaimed faCilitators. <strong>The</strong> <strong>Ceramics</strong> Department<br />

is ~quipped with studios, a gallery and a speCialist library<br />

on site. <strong>The</strong> campus is located in the cultural precinct and<br />

is within walking distance <strong>of</strong> seven galleries, local beaches<br />

and a thriving arts and cafe scene. Contact Sue Stewart,<br />

heather.f.stewart@tafe.nsw.edu.au.<br />


Hornsby and <strong>No</strong>rthern Beaches College <strong>of</strong>fer accredited<br />

qualifications from Certificate to Advanced Diploma leve-Is as<br />

well as short specialist programs for both the beginner and<br />

advanced ceramicists. For more information,<br />

E: nsLceramics@tafensw.edu.au. For general course and<br />

program enquiries call 13 1 674 or go to<br />

www.nsi.tafensw.edu.au<br />


woodrow<br />

kilns<br />

Helping you produce Beautif ul <strong>Ceramics</strong>, Pottery and Glass for over 40 years<br />

A Complete Range <strong>of</strong><br />

Electric and Gas Ki lns:<br />

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• Failsafe Backup Circuit and Door Switch<br />

• All Kilns can Fire to 1280C<br />

• Failsafe Backup Circuit and Door Switch<br />

• Kanthal A 1 Elements and r28 Brick Floor<br />

• Light Weight - Easy to Install and Move<br />

• Locking Controller Cover for all School Kilns<br />

Backed By:<br />

• Phone Support and after Sales Service<br />

• Recommended Firing Schedule with Wall Chart<br />

. 3 Year Factory Warranty, 10 Year for Frame/Case<br />

Under New Management<br />

We are pleased to announce that after working as Sales &<br />

Operation Manager for the past 3 years, Adam Crozier has taken<br />

over the ownership <strong>of</strong> Woodrow Kilns.<br />

We can now proudly <strong>of</strong>fer both a fresh faced management team<br />

back by our Technical staff with well over 50 years <strong>of</strong> combined<br />

hands on experience.<br />


Ceramic Design Studio<br />

www.sit.nsw.edu.au/ceramics/gymea<br />

Why not enquire about our new Master Classes!<br />

Studio-based courses<br />

Full and part-time<br />

Wheelwork Tableware<br />

Handbuilding Sculpture<br />

Contemporary Installation<br />

Mouldmaking & Casting<br />

Decorating Techniques<br />

Glaze & Kiln Technology<br />

Raku & Woodfiring<br />


DESIGN<br />

STUDIO<br />

Find us on Facebook<br />

@ Ceramic Design Studio­<br />

TAFE Sydney Institute<br />

Image: Nicky Parra,<br />

Photography: Silversalt Photography<br />

Cnr<strong>The</strong> Kingsway & Hotham Road<br />

Gymea NSW 2227<br />

Tel: (02) 971 05001 Fax: (02) 97105026<br />

Catherine.Fogarty@det.nsw.edu.au<br />


Specialist ceramics<br />

training facilities<br />

TAFE NSW - <strong>No</strong>rthern Sydney Institute<br />

Beginners and<br />

pr<strong>of</strong>essional<br />

ceramicists<br />

are welcome<br />

Come and train in some <strong>of</strong><br />

Australia's most outstanding<br />

ceramics training facilities<br />

featuring the latest<br />

pr<strong>of</strong>essional equipment and<br />

spacious, natural light-filled<br />

design studios.<br />

Both colleges <strong>of</strong>fer fast-track<br />

specialist programs and a<br />

range <strong>of</strong> nationally accredited<br />

qualifications which are<br />

available part-time, full-time,<br />

day or evening.<br />

<strong>The</strong> facilities include:<br />

> Raku kilns<br />

> natural gas and LPG kilns<br />

> eledric kilns<br />

> wood fired kilns<br />

> an extra large trolley kiln for sculptural work<br />

Courses include:<br />

> Nationally accredited qualifications<br />

> Short courses<br />

> NSI's open studio practice provides access to the NSI studios<br />

and facilities so you can improve your skills by developing<br />

your own work.<br />

Hornsby College<br />

205 Pacific Highway, Hornsby NSW 2077<br />

<strong>No</strong>rthern Beaches College<br />

154 Old Pittwater Road, Brookvale NSW 2100<br />

For more information about the ceramics training facilities<br />

and services available, email: nsi.ceramics@tafensw.edu.au<br />

For general course and program enquiries:<br />

Call 131 674 or go to www.nsi.tafensw.edu.au<br />




GROUP Inc.<br />

presents<br />

Victor Greenaway at the Powerhouse Museum<br />

Sunday, 17 February 2013<br />

A day's presentation and demonstration by one<br />

<strong>of</strong> Australia's finest ceramic artists to start <strong>of</strong>f our<br />

50th year anniversary. Everyone welcome.<br />

Members enjoy monthly presentations by<br />

<strong>Australian</strong> and overseas potters, a monthly<br />

newsletter, access to an updated library. DVDs,<br />

our woodfired kiln and networking with<br />

like-minded souls.<br />

For bookings email: csgsecretary@holmail.com<br />

www.ceramicsludygroup.org<br />

A home-stay arti sts retrea t<br />

in forest country on the Mid<br />

<strong>No</strong>rth Coast or NS W. Our<br />

guests are invited to learn<br />

new skills in :<br />

• Ceramic sc ulpture<br />

• Figurative art<br />

• Busts/caricatures<br />

• Wheel work<br />

• Mould making<br />

• Surface finishes<br />

• Drawing<br />

• Painting<br />

3 or 5 day stays to suit guests' aims &: dates. Check<br />

out the website or phone for more details:<br />

www.ozmosis.net.au<br />

277 Soldier Settlers Road, Newce Creek NSW 2447<br />

Phone (02) 6568 1903 Emll il: ozmosis@15n.cc<br />

From beginncn 10 experienced practitioners<br />


~- -----<br />

quality pottery supplies and services<br />

<strong>No</strong>rthcote Pottery Supplies Pty Ltd<br />

142 - 144 Weston Street<br />

Brunswick East 3057<br />

(PH) 039387391 1<br />


tilly co,rIbi_,.<br />

and scrap.<br />

constant/ora<br />

e All In One Mixing PugmiUs<br />

e Patented Single Auger Design<br />

e Easy to Mount Extrusion Dies<br />

e 'nteUectual Mixing Technology<br />

e Stores Moist Clay Indefinitely<br />

e Huge Hopper Opening<br />

e <strong>No</strong> Vacuum Screens or Ports<br />

to Plug, Clean or Slow Down<br />

Cycle Times.<br />

VPM-9<br />


Peter Pugger Mfg Inc<br />

3661 Chmty Lane, Ukiah, CA 95482<br />

Phone: (707)463-1333 Fax: (707)462-5578<br />


ICMEA 2013 Conference<br />

September 08·13, 2013<br />

Fuping, China<br />

<strong>The</strong>me: Challenge & Innovation <strong>of</strong> <strong>Ceramics</strong><br />

I. Call for Speakers:<br />

• Subjects <strong>of</strong> Speeches:<br />

critical writing, marketing, education, gallery/museum/Residency Policy and<br />

other related topics .<br />

• Speech length 20 minutes<br />

• <strong>No</strong> speaker fees and conference fees<br />

• Free accommodation and meals for speakers<br />

• Deadline: April 30, 2013<br />

VI_ http://www.lCMEA2004.com for application<br />

II. call for Emerging Ceramic ArtIst Competition:<br />


••••<br />

look.$<br />

dfferenF ?<br />

I clever design prevents<br />

marine grade afuminium<br />

wheel head 33cm (<br />

• bat pins<br />

water / slip from getting<br />

under wheel head for<br />

easy cleaning<br />

marine grade aluminium tray<br />

• 10 yr warranty on breakage<br />

• easy clean with large drain hole<br />

• wooden side trays also available<br />

easy clean control pad<br />

• aux. speed control buttons<br />

• fwd/rev<br />

• auto turn-<strong>of</strong>f (power saving)<br />

clip-on seat (optional)<br />

• padded & adjustable<br />

• stainless steel frame<br />

powerful direct drive motor<br />

stainless steel body & legs<br />

• no rusting<br />

• ergonomic curved design<br />

• table-top kit included<br />

low pr<strong>of</strong>ile footpedal<br />

• high impact<br />

• stainless steel &<br />

• 3/4hp permanent magnet motor ,'.f- ,$ .. ,<br />

• super smooth and responsive L.b/lAIJ$e y<br />

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- forward I reverse<br />

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- 110-240V SOl6Ohz<br />

- 10 year warranty on tray and frame<br />

options<br />

- clip-on marine ply shelves<br />

- riser bat and standard bats<br />

- stand-up and tablelfloor kits<br />

Algo dVd!lt:l/7/e:<br />

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Artist -in-residence<br />

program<br />

Our residency program has a wellequipped<br />

studio and self-contained<br />

residential unit set in the Watson Arts<br />

Centre grounds. Applications are<br />

invited for 2013.<br />

Details <strong>of</strong> residency formats<br />

and an application form are at<br />

canberrapotters.com.au or contact<br />

us for an information pack.<br />

Canberra Potters' Society Inc<br />

Watson Arts Centre· Aspinall Street· Watson· ACT<br />

admin@canberrapotters.com.au ---<br />

ph/fax (02) 6241 1670<br />

po Box 702 1, Watson Aa 2602 -<br />

ACT<br />

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

Association<br />

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online<br />

shopping<br />

is now available<br />

@ www.australianceramics.com<br />


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

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

Public and Product Liability Insurance<br />

Back issues, books and technical guides<br />

Pavment Options<br />

Credit Card • Paymate • Direct Deposit<br />

COLOURS Rockwood Pigments, Cesco,<br />

Walker <strong>Ceramics</strong>, Clayworks, Deco,<br />

Chrysanthos CLAYS Bendigo, Bennetts,<br />

Blackwattie, Clayworks, Feeneys, Keanes,<br />

<strong>No</strong>rthcote, Walkers EQUIPMENT<br />

wheels, slab ro llers,<br />

ACCESSORIES Brushes, corks,<br />

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and more GLAZES Powder and<br />

Claytools, Kemper, Giffin Grip and<br />

NEW - Limited supply <strong>of</strong> Duncan UHJUlJCl<br />




Object based Practice is a specialised stream<br />

in gold and silversmithing and ceramics within<br />

RMIT's fine art degree.<br />

Object based Practice continues to push creative<br />

boundaries and RMIT's undergraduate and<br />

postgraduate students are regularly recognised<br />

for their work through national and international<br />

awards, publications and exhibitions.<br />

www.rmit.edu.au/art<br />

Discover more about this intricate field and other<br />

programs available at RMIT.<br />

> For further information about<br />

studying art at RMIT contact<br />

artschool@rmit.edu.au<br />

e RMIT<br />



Clay Push Gulgong 2013 is the ninth in the series <strong>of</strong> ceramics<br />

events which have been held every three years (since beginning in<br />

1989) in Gulgong, NSW, Australia. This small, historic and friendly<br />

town, at the heart <strong>of</strong> the renowned Puggoon clay deposits, will<br />

become t he hub <strong>of</strong> the ceramic world, welcoming visitors from<br />

around the world and all parts <strong>of</strong> Australia.<br />

Talks, demonstrations, exhibitions and special events, under the<br />

artistic direction <strong>of</strong> Janet Mansfield, await you for this unique week<br />

in 2013. Chester Nealie, master <strong>of</strong> ceremonies, will welcome you to<br />

t he event, which culminates with a special day at Morning View.<br />

International artists from Brazil, France, South Korea, Sweden,<br />

Thailand and USA, as well as Austra lian artists, will lead the<br />

workshop presentations. <strong>The</strong>re will be hands-on activities,<br />

experimental firings and opportunities to display your work.<br />

Register now by going to the _bslte www.gulgong2013.com<br />

Or fill in the form below and post it to:<br />

Clay Push, PO Box 502 Waverley N5W 2024 Australia<br />

Invited artists include:<br />

Frank Boyden, USA<br />

sponsored by the Mid·Western<br />

Regional Council<br />

Naidee Changmoh, THAILAND<br />

<strong>No</strong>rma Grinberg, BRAZIL<br />

Marianne Hallberg, SWEDEN<br />

Wayne Higby, USA<br />

Jacques Kaufmann, FRANCE (tbc)<br />

Lee Kang Hyo, SOUTH KOREA<br />

Kirsten Coelho, AUSTRALIA<br />

Greg Daly, AUSTRALIA<br />

Jeff M incham, AU STRALIA<br />

Highlights at Morning View on<br />

Sunday 4 May include artists<br />

Rod Bamford, Australia (education<br />

forum), Coli Minogue, Ireland<br />

(writers' forum) and Stephen<br />

Robison (USA), leading special<br />

activities for the participants, and<br />

all rounded up with a Kiwi<br />

woodfired dinner.<br />


Name:<br />

Address:<br />

Country:<br />

Phone:<br />

(please include country code if outside Australia)<br />

Email:<br />

PAYMENT TYPE: Cash I Cheque I Credit Card I EFT I Paypal<br />

Cheque: Please make out to Mansfield Press Gulgong 2013; must be in AU$<br />

Credit Card (please indicate type): Mastercard ( Visa<br />

Card Holder Name: __________________<br />

Card Number:<br />

/<br />

Expiry Date: __ / _ _<br />

EFT: " use your name to identify the transfer"<br />

Account name: Mansfield Press Gulgong 2013<br />

BSB 062549; Account <strong>No</strong>.1 0096443<br />

Swift code: CTBAAU25; Commonwealth Bank, Gulgong NSW<br />


Delegate: $ 450 (Full Rate)<br />

Stud.m:<br />

$100 (Day Rate)<br />

$ 325 (Full Rate)<br />

$75 (Day Rate)<br />

TadMrwith 6 Students:<br />

$350 (Full Rate)<br />

$100 (Day Rate)<br />


Please email first to check<br />

availability, then add to your<br />

payment total.<br />

1 Dormitory add $15 (night<br />

1 BusTlcbt<br />

Sydney to Guigong<br />

$ 70 each way; $140 return

Showcase<br />

Saturday 17 + Sunday 18 August 2013<br />

We want to link as many ceramic studios as we can muster around the country for OSCAS 1 a national weekend <strong>of</strong><br />

ceramic sampling, sales and mayhem!<br />

Before we are overrun with spring fairs, we will warm our studios {for those down south}, open the doors and welcome<br />

the locals in to see what we make.<br />

<strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association will create an online flier for you to distribute via your local networks, whilst also<br />

supporting the event with a comprehensive list in <strong>The</strong> <strong>Journal</strong> <strong>of</strong> <strong>Australian</strong> <strong>Ceramics</strong>, 52/2, July 2013, and a special<br />

page on www.3ustralianceramics.com.<br />

To participate you (or your group) need to be a financia l member <strong>of</strong> <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association and have<br />

public liability insurance cover (for the weekend <strong>of</strong> the event). Your liability cover may be through TACA, or if not<br />

through TACA, we will ask that you provide a Certificate <strong>of</strong> Currency for your alternative cover. <strong>The</strong>re is no fee to<br />

participate.<br />

To submit your OSCAS Expression <strong>of</strong> Interest, please send an email tomail@3ustralianceramics.com. with the<br />

subject line OSCAS EOl.ln the body <strong>of</strong> the email, give your name (and/or your studio name), your location, a contact<br />

number and your website, blog or facebook page. This event is open to individuals and groups.<br />

http://australianceramics.realviewdigi tal. com<br />


<strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association's<br />

Biennial Exhibition 2014<br />

Manly Art Gallery & Museum<br />

28 March - 4 May 2014<br />

the course <strong>of</strong> objects;<br />

the fine lines <strong>of</strong> inquiry<br />

Curator: Susan Ostling<br />


<strong>The</strong> intent <strong>of</strong> this exhibition the course <strong>of</strong> objects: the fine<br />

lines <strong>of</strong> inquiry is t o map and take the pulse <strong>of</strong> recent<br />

ceramic wo rk that pu r sues particular l ines <strong>of</strong> inquiry<br />

or explores or embodies pertinent ideas.<br />

Working in the spirit <strong>of</strong> unraveling the assoc iations between<br />

things, or discovering constellations in things, I will look<br />

for possible transient affinities and correspondences when<br />

making selections for the exhibition .<br />

Works wi ll be chosen that trigger or extend connections or<br />

references, or that suggest repetitions , echoes, resemblances,<br />

distilled moments , or the thick realm <strong>of</strong> metaphor .<br />

I am not intending to establish an overall exhibition theme;<br />

rather to elucidate methodolog i es <strong>of</strong> practice and inquiry .<br />

Practitioners (potters, sculptors, ceramicists) are invited to submit proposals<br />

for the exhibition the course <strong>of</strong> objects; the fine lines <strong>of</strong> inquiry.<br />

Please send an outline <strong>of</strong> your proposal/rationale (100-150 words),<br />

a disc with 3- 5 images <strong>of</strong> related work and a current I - page CV.<br />

Applications close: 15 April 2013 Artists notified: 31 May 2013<br />

Exhibition dates: 28 March - 4 May 2014<br />

Please post proposal packages to: Susan Ostling<br />

<strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> AssOCiation, PO Box 274 Waverley NSW 2024<br />

Artists whose work is selected will receive a $100 participants fee.<br />

Exhibitors must be financial members <strong>of</strong> <strong>The</strong> <strong>Australian</strong> <strong>Ceramics</strong> Association.

WALKER ,<br />

Buff Raku Trachyte<br />

ELI--9<br />

Feeneys<br />

Clay<br />

Proudly ;?'<br />

manufacturing ~<br />

in Australia<br />

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Cesco<br />

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