The Journal of Australian Ceramics Vol 51 No 3 November 2012

Focus: Technical
felt for the figu re because, as human beings, we are all hardwired to respond to a likeness in a face, but
responding to a sense of humanity in a face is another type of readion all together.
On reflection I can see that this workshop has taught me how to go up in scale and also the
possibilities that lie in the expressive nature of clay. The privilege of seeing a true master of ceramic
sculpture at work has helped me begin to understand the marriage between form and surface
treatment.
The flattening out of the face by the application of underglaze meant that Akio's faces are far from
finished when he stops sculpting and picks up the brush to start painting. To develop this skill and also
keep the work looking fresh is something that comes from making the work in a spontaneous manner.
Using underglazes that are diluted means that the colour moves and runs in a way that is less controlled
than I am used to. This enables a freer feel to the clothing and faces that Akio makes. The sculptures are
sometimes fired up to four or five times, allowing for refledion on the finish and staging the process so
that work doesn't become muddy or too controlled.
The washes become deeper with each subsequent firing because generally Akio re-fires the work
at a lower temperature than the first firing, avoiding a bleaching out effed on the work. Commercial
Opposite page, photos: Grant Hancock
Below, photos: Alison Smiles