Pr<strong>of</strong>ile LES BLAKE BROUGH 1930 1948 1955-1957 1957-1959 1959-1972 1963-1964 1964-1972 1965 1970 1973-1981 1973-1977 1974 1974-1977 1976 1978 1981 - 1987 1982 1987 1988 1989 1992 1995 1997- 1998 1998- 1999 2001 2002 2005 2008 2010 <strong>2012</strong> Born in Kingston, Surrey, England Arrived in Australia by tramp steamer Studied painting then ceramics at East Sydney Technical College Apprenticed to Ivan McMeekin at Sturt Pottery, Mittagong, NSW Manager <strong>of</strong> Sturt Pottery Studied in Kyoto, Japan, with Takeichi Kawai Director <strong>of</strong> Sturt Craft Centre, Mittagong, NSW Became a foundation member <strong>of</strong> the Craft Council <strong>of</strong> Australia Represented Australia at the World Craft Council Conference, Dublin, Ireland Moved to Tasmania as Head <strong>of</strong> the <strong>Ceramics</strong> Studio, Tasmanian School <strong>of</strong> Art, at the newly established Tasmanian College <strong>of</strong> Advanced Education (CAE) Foundation member <strong>of</strong> the Crafts Board, Australia Council Established a private studio at home in Mount Nelson, Hobart, Tasmania; Won the Gold Medal at the International Exhibition <strong>of</strong> Ceramic Art, Faenza, Italy Foundation member <strong>of</strong> Tasmanian Arts Advisory Board Began working in glass; Member <strong>of</strong> the <strong>Australian</strong> delegation to International Design Conference, Kyoto, Japan European co-ordinator, World Crafts Council Conference, Kyoto, Japan Minimising his teaching load, he ran his studio pottery, <strong>The</strong> Pot Company, at Mount Nelson, <strong>of</strong>fering three-year apprenticeships to three or four trainees at a time Official visitor to Fujian Province, People 's Republic <strong>of</strong> China Serious illness led him to closure <strong>of</strong> the Mount Nelson pottery Invited back to Tasmanian School <strong>of</strong> Art, (since 1981 part <strong>of</strong> the University <strong>of</strong> Tasmania) as Associate Pr<strong>of</strong>essor and Reader in <strong>Ceramics</strong> charged with establishing a <strong>Ceramics</strong> Research Unit Retrospective exhibition held at Tasmanian School <strong>of</strong> Art Awarded a Churchill Fellowship to undertake study tour <strong>of</strong> ceramics industries in Scandinavia and the UK Retired from teaching but continued at the <strong>Ceramics</strong> Research Unit Awarded an Australia Council Creative Arts Fellowship Made Honorary Research Associate, Tasmanian School <strong>of</strong> Art, University <strong>of</strong> Tasman ia Southern Ice Porcelain sold under licence by Clayworks, Australia Formation <strong>of</strong> Southern Ice Porcelain Pty Ltd, which developed editioned plates (1-100) depicting Tasmanian flora Southern Ice Porcelain dinner set created for the Vice-Chancellor, University <strong>of</strong> Tasmania Became a member <strong>of</strong> the International Academy <strong>of</strong> <strong>Ceramics</strong>; Named the inaugural 'Living Treasure' at Object: <strong>Australian</strong> Centre for Craft and Design and featured in Living Treasures, Masters <strong>of</strong> <strong>Australian</strong> Craft exhibition and monograph Named Senior <strong>Australian</strong> <strong>of</strong> the Year in Tasmania Relocated to Darlinghurst, Sydney, NSW, to join his new partner, photographic artist Anne Ferran Established new studio in Coledale, south <strong>of</strong> Sydney, NSW 22 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER <strong>2012</strong>
Pr<strong>of</strong>ile A Slow Boat to China Cory Taylor chronicles Sh in Koyama's passion for porcelain painting in China and Japan It was never part <strong>of</strong> Shin Koyama's plan to end up building a porcelain studio in Jingdezhen, China. Like everything good in life, this particular twist <strong>of</strong> fate came about through a series <strong>of</strong> happy accidents. A painter and printmaker, Shin had always had the urge to branch out and explore other mediums. He had a particular passion for traditional Japanese blue and white porcelain. <strong>No</strong>t that he wanted to learn how to make the porcelain, only how to paint on it, how to use it as a surface for his complex and wildly funny imagery. <strong>The</strong> main attraction <strong>of</strong> porcelain, he says, is its durability. He likes the thought that THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER <strong>2012</strong> 23
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