The Journal of Australian Ceramics Vol 52 No 2 July 2013

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

Focus: Education

Clay Push Gulgong 2013

Open Studio Ceramics Australia

Clean Efficient

Electric & Gas Kilns

and Furnaces

+ Environmentally friendly

+ low density hot face

insulating brick (fibre free)

+ Economical to operate

+ Made in Australia

exported worldwide

+ One of Australia's most

experienced kiln and furnace


+ Australia's largest range

with 40 standard sizes

custom sizes on request

+ Over 40 years experience

established 1963

+ Over 20,000 kilns and

furnaces now in use

+ Fast firing to 1300°C

Your choice - manual or

electronic temperature



.... ~

10th-14th Octobf!t

AI{!xandta Patk Conf{!t{!nc{! C{!ntt{!

AI{!xandta I-l{!adland Qu{!{!ngland

int{!tact-qu{!gtion -{!nioy -I{!atn

a uniquB oppottunity to intBtact

with thB~B tBnOwnBd atti~t~

~Iug local 3tt;gt Catol J:Otgtf!t

in a ftiBndly, tBlaXBd ~mtting iu~t minutB~

ftom bBautiful ~un~hinB Coa~t bBachM

a full tangf! of attf!ndanCB ~ackagM availablf!

including fully catf!tBd ong;tf! accommodation

fot mOtf! dBtailg:


~mail: iackiB-gaggon@bigJ>ond.com

Phonf!: 04-g~ 4-50 g4-9

~tBgBntBd by

Spring Fever 2013

Come and join us to experience this unique ceramic event!

Get up close to our tutors!

In a relaxed and friendly atmosphere you have a chance to interact, question, learn from and enjoy the exquisite talents

of these extremely knowledgeable tutors that we have gathered from England, New Zealand and Australia .

Demonstrations - Forums - Question and Answers Sessions

plus a studio tour of local artists, the screening of both rare and contemporary documentaries & conference dinner

Each day is packed with action, information and surprises.

Fully catered residential accommodation available including breakfast, lunch dinner and supper ... no need for a car!!!

Each day includes lunch, morning and afternoon tea for all delegates.

Richard Godfrey gained a degree in ceramics from Bristol Art College in 1972 and taught for eight years before starting

his first full time studio. He is well known internationally for his pioneering development of brightly coloured slips and his

use of innovative construction techniques. His unique style makes his work highly collectable and he has pieces in major

public and private collections around the world. He lectures and exhibits allover Europe and has been the subject of two

television documentaries. He won the bronze award at the European Ceramics Competition in Athens, which was held to

celebrate the opening of the 2004 Olympic Games.

Royce McGlashen is well known as one of New Zealand's leading potters. He qualified as a Master Potter in 1971. He is a

member ofthe International Academy of Ceramics (Geneva) and in 1989 received an M.B.E. for his services to pottery in

New Zealand.

At his studio in Brightwater near Nelson he produces a wide range of tableware, ceramic art pieces and paintings. Hand

decoration and interesting surface treatments have always been a feature of Royce's work. He has won many awards and

his work is held in numerous public and private collections.

Mitsuo Shoji is an internationally renowned ceramist who was trained in Kyoto, Japan, and has been based in Australia

since 1973. He was Senior Lecturer at Sydney College of the Arts for 29 years. He now works fulltime in his own studio. He

has been a member of the International Academy of Ceramics, (lAC), since 1980. His work in ceramics is broad, ranging

from functional design ware to sculptural objects and experimental work. Shoji's main concern is to research the ceramics

medium, experimenting in new aspects of ceramics and developing new techniques such as ceramic painting. For the last

five years Shoji has been invited to participate in a series of international symposia to produce his work and exhibit.

Graham Hay produces unusual paperclay sculptures that are often inspired by architecture and unique Western Australian

flora. Hundreds of individual parts are organised into structures. The new medium of paperclay has enabled him to push

the physical and expressive boundaries of ceramics. It has also led to invitations to give workshops across the country, and

globe. Originally a by-product of making his paperclay, Graham also developed new techniques to compress and carve

paper into sculptures (no glue).

Greg Crowe knew almost immediately after visiting a ceramics studio as an undergraduate student, he was going to be a

potter. "I like the tradition; I like the history of it. In my early years, I actually made a point of it and dug my heels in to be a

'potter' and not a 'ceramicist'." It is perhaps this singular joy of throwing forms that consistently reveals itself in his pots.

" Enjoyment of pottery - the process, as well as the results - is my prime motivation. I relish working with clays where there

is direct and constant emotional and intuitive involvement".

Carol Forster's love affair with clay has sustained her for the past 3S years, and has led her to experiment with many

different areas of ceramic technique, from highly decorative lustre work to her most recent pieces, which have an

emphasis on the texture and finish of the raw material. She has always been fascinated by nature's diversity in the

textures, patterns, shapes and beauty of the many shells it creates. The fact that porcelain derives its name from the

cowrie shell has influenced her to use fine translucent porcelain clay, to mimic the hardness and strength of a variety of

shell forms and textures. Her works reflects her sense of fun and adventure.

Alexandra Pa rk Conference Centre is located at Alexandra Headland, between Mooloolaba and Maroochydore on Queensland's

beautiful Sunshine Coast, a little more than an hour's drive north of Brisbane. You can fly directly to the Sunshine

Coast too!! The centre is nestled in one of the few remaining pockets of rainforest bushland in the Sunshine Coast region .

The bush setting makes it easy to forget how close you are to the beach, shops and popular cafes of the Sunshine Coast;

only 200 metres from Alexandra Headland's patrolled surf beach . Underwater World is only minutes away and with easy

access to Australia Zoo and other Sunshine Coast attractions.

-Bungalow accommodation with en-suites and deck -Swimming Pool

-Meals prepared by chefs in a commercial grade kitchen

nprint© 5478 8556




We are pleased to be able to offer a selection of packages which will allow you

to choose the appropriate package to suit your needs.

Should you need something other those listed below please ring or email Jackie Gasson

on 0438 450 349 or jackie-gasson@bigpond.com.

Please note the accommodation is on a shared basis but we do try to

accommodate any special requests.

You will receive a detailed information pack upon receipt of your registration and payment.





Package includes 4 days attendance and 4 nights fully catered on site accommodation in

bungalow style units. (please note this is shared accommodation for up to 4 people per

unit). Meals include breakfast. lunch, dinner, morning and afternoon teas and supper.

Linen included, NO towel and toiletries.

Bonus includes Conference dinner on Saturday, bus trip and dinner offsite on Sunday

and studio tour and lunch on Monday.

$675 $720





Package includes 4 days attendance. Meals include lunch, morning and afternoon teas.

Bonus studio tour and lunch on Monday.

$450 $490





FRIDAY·Package includes 1 day attendance. Meals include lunch, morning and afternoon


SATURDAY· Package includes 1 day attendance. Meals include lunch, morning and

afternoon teas.

SUNDAY· Package includes 1 day attendance. Meals include lunch, morning and afternoon


MONDAY- Studio tour and lunch. Bus provided and leaves from centre.

$140 $150

$140 $150

$140 $150

$50 $75


BRING YOU PARTNER; they can take in the delights of the Sunshine Coast I !

Package includes 4 nights fully catered onsite accommodation in bungalow style units.

Meals include breakfast, lunch, dinner, morning and afternoon teas and supper. Linen

included, NO towel and toiletries.

Bonus includes Conference dinner on Saturday, bus trip and dinner offsite on Sunday

and studio tour and lunch on Monday.



Conference Dinner including drinks·SATURDAY NIGHT per person (non residential


Dinner at Jackie's on SUNDAY (Bus not included)














CREDIHARD NUMBER I r --1 T I r-r--l-T []


Cardholders Name Expiry Date / CSV

Banking Details for direct deposit


please make cheques payable to SUNCOAST CLAYWORKERS ASSOCIATION INC.




















Conference Dinner including drinks-SATURDAY NIGHT per person $30

Dinner at Jackie's on SUNDAY (Bus not included) $30


SPECIAL REQUIREMENTS (vegetarian, vegan, diabetic, etc)


Volume 522

July 2013



Kylie Rose Mclean

Fat Quarters, 201 2

Keane's Special K, coiled. stencilled

designs, slips, transfers, iron oxide

and dry glaze applied after bisque

mld·range oXldahOn. max h.29cm

Photo: Steve Cummings

Northern Sydney Institute

Hornsby Campus

The Journal of Australian CeramiCS

Dates of Publication

1 April, 17 July, 20 November


The Australian Ceramics Association

PO Box 274 Waverley NSW 2024

11300 720 124

F: +61 (0)2 9369 3742



ABN 14 001 535 502

ISSN 1449-27SX

Ed itor

Vicki Grima


Marketing and Promotions

Carol Fraczek


Astrid Wehling

www.astndwehlmg .com.au

Subscriptions Ma.nager

Ashley McHutchison

Editorial Assistant

Elisa Bartels

Proofreader, content

Suzanne Dean

Australia Wide Reports

ACT: Jane Crick

NSW: Sue $tevvart

OLD: l yn Rogers

SA: Sophia PhiUip5

TAS: Jude Maisch

VIC: Robyn Phelan

WA: Elaine Bradley

Printed by

Newsty!e Printing Co Ply ltd

4 1 Manchester St. Mile End SA

503 1 certified to ASlNZS ISO

1400 1 :2004 Environmental

Management Systems. Printed on

Impress Satin (FSC) stock using

100% vegetable-based

process inks.





8 The Work of Janet Mansfield Chester Nealie


11 Greg Piper on Clay Push

12 Clay Push Masters

22 Clay Push Presenters

24 Clay Push South East Asian Demonstrators


26 Elephant in the Fortress - Ceramics Education in the Time of

Indifference Rod Bamford reports from the Clay Push Education Forum

28 Looking Around Karen Weiss considers the alternatives in ceramics


32 Workshop-aholic Robyn Phelan reflects on ceramics-specific workshops

and their outcome, in particular a recent workshop with artist and

conservator Penny Byrne

37 Finding New Paths Jasmine Scheidler writes about changes at Lismore

TAFE and John Stewart's contribution to its success

40 National Education Pictorial Survey 2013

50 Out of the Hands of Babes Birgit Sowden reports on her journey of

working with children in the classroom



64 Keane Ceramics


68 VIEW I: Crawling Through Mud: Australian Ceramics and the

Japanese Tradition A review by Prue Venables

71 VIEW II: Delivering on the Long Look Roisin O'Dwyer considers the

recent work of Robyn Phelan

75 VIEW III: The Art of Small Things Jasmin Dessmann discusses collective

identity in the work of Sarah O'Sullivan

78 COMMUNITY I: The Central Coast Potters 50ciety Celebrate its 4Sth

Anniversary Kylie Rose McLean looks at the plans for an exciting future

82 COMMUNITY II: Showtime! Karen Weiss reports on Clay on Display

84 CERAMICS+: Marianne Huhn's proposal to the JAC

85 STUDIO: Studio Safety Part 1 by Jeff Zamek

90 UP THE MB PATH: Byte me! Elisa Bartels unravels the mysteries of editing

and sending images

93 OVERSEAS: Naked Raku Paul Gennings reports on a Tim Andrews

workshop in Hungary

95 CERAMIC SHOTS: Handle your ceramics photo competition

98 ARTIST IN RESIDENCE: Highly visible - a graduating student's

perspective on the need for education and widening skills base

A report by Anne Masters

102 WEDGE: Rachael McCallum


105 VIEWED & READ: Natalie Velthuyzen

106 AUSTRALIA WIDE: State Representative Reports



A special moment at Clay Push Gulgong

2013 ... Frank Boyden, Lee Kang Hyo and

Vicki Grima covered in mud after joining in

with lee's collaborative performance.

Many have recently asked me if I have recovered from Clay Push. My hesitant reply is, "No, I don't think

recover is the right word ... I think I've changed rather than recovered ." We learn, grow and change

from experiencing these gatherings.

In July 2012 Janet Mansfield asked me to direct the event and. though I'd said no in years gone

by, I said yes this time; the thought that it might not go ahead was too sad to contemplate. And so it

happened. From a bare field, empty halls, and from the earth itself, sprang all sorts of creative activity

and connections between international masters, potters from near and far, and the local community;

and many of those ephemeral moments were caught in our photos; http://tinyurl.comlclaypushimages.

At the Clay Push Welcome Dinner I described the feeling of directing such an event and compared it

to editing an issue of this journal, using the visua l image of a funnel. There is an enormous cluster of

people, pots, artworks, information, requests, promises, details and possibilities, all swirling up there

in the bowl of the funnel. As time passes these bits shuffle around, shifting slowly and uncomfortably

at times - at times I wonder if they will ever match up and fall into place. Time is tight. Decisions are

made. There is no turning back. I find myself in the narrow shaft of the funnel. It is intense, stressful and

scary. But out of that funnel flowed the special gathering in Gu lgong .. . and another issue of the journal

... and the feeling is good.

Greg Piper and I chose to present a unique record of the people who came to share their knowledge,

skills and personal stories at Clay Push. My favourite words from those masters are from Jeff Mincham

(on page 21 ) who so succinctly describes the Gulgong event many of us enjoyed, and the magic that


In this issue you'll also find cu rrent discussions about the dilemmas faCing Australian ceramic

education and those who are being creative in finding solutions. The survey of 2012 graduate students

shows where our support can be directed to help them move to the next step - developing their skills,

exhibiting and selling their work and making ceramics a viable career path.

The Australian Cera mics Association continues its supportive role - applications are now open for the

20 14 Trudie Alfred Bequest Ceramics Scholarships (see page 127).

We are all excited too about the Open Studio event. If you are not participating lit, ./

you rself, please support your local potters l V



Co ntributors

Jasmin Dessmann is an arts administrator, artist

and freelance writer from Sydney. She is currently

Gallery Programs and Touring Exhibitions Officer

at Museums & Galleries NSW and has worked

in exhibition research at the Art Gallery of NSW.

Taking ceramics eledives at art school, she once

convinced her parents to have a pit-fire kiln in

their backyard.

See pages 75-77.

Rachael McCallum is a determined emerging

artist currently completing her Honours degree

at the National Art School. As a former Ku-ringgai

Creative Arts High School student and

performer she has experienced a history of

artistic disciplines, but found ceramics to be most

politically and technologically compelling.


See pages 102-103.

Jasmine Scheidler lives in Terania Creek,

NSW with her partner Gwanji Monks and two

children. In her art pradice she uses a variety

of materials but her first love is, and always will

be, ceramics. She carefully balances her t ime

as mother. partner, artist. educator, activist and

gardener w ith great difficulty and joy! She is

currently working on a solo show opening 22

July at the Lismore Regional Gallery.

E: jasminescheidler@gmail.com

See pages 37-39.

Birgit Sowden from Eumundi in Queensland

has a great appreciation for doing clay work with


"Rather than just showing children how to make

things out of clay, I like to collaborate with them

- we make great art together and it's hard to

know who has more fun, them or me."

E: birgit@sowden.com.au

See pages 50- 53 .


Tri bute

form, her lugs are wild, expressive and full of movement - an "opportunity for ash and salt to sit. Some

people think they are over the top. I don't - I love handles and lugs!"

Janet's sgraffito decoration was another individual characteristic - " ... the fun part," she said. A broad

brush of white slip was casually daubed around the surface, " ... a nice place to play" . Then, with the

speed of a conductor's baton, she scored the slip, most often using her signature Morning Glory flowers

motif. Her movement was instinctive, lively and confident; all done in twenty seconds and giving a rich

edge for salt glazing to define decoration.

Wood flame was a big part of Janet's life. She used it for cooking, for heating and in firing her pots.

She first built a kiln on the Gulgong property in 1977 - now there are eight. The initial, large anagama

has been retired - " it takes six people to fire it". The smaller anagama, Fred Olsen's 'Gulgong Racer' kiln

was fired four times a year while the new trolley salt kiln was fired twice a year. Janet salt-fired her first

trolley kiln for many years, and when it could no longer be repaired she replaced it with another.

Judy Soydell was Janet's main firing partner over many years. In the past, potters from the region

formed the anagama firing team, but in more recent years she fired with Judy, Wang, Fan and me.

Janet liked to get to top temperature in twenty four hours, then for the next twenty hours "play"

with reduction using the "trick brick" opening in the chimney and side-stOking. Firing with eucalyptus

timber from the farm, such as grey box and old ironbark fence posts, gave her the preferred dry grass

colours of matt yellows balanced against the carbon-included blacks and reduction reds. "Forty hours

of firing is the optimum, otherwise it's too hot and pots are glued up and stuck. I do, however, enjoy

honourable scars. "

Janet has left a legacy of unique pots, distinctively her own. She said she "learned from everybody",

yet her work is immediately recognisable from her freedom in throwing, her wonderful wild and

confident sgraffito, her cheeky lugs and handles, and a salted or wood ash surface, unsurpassed. There

is joy in her creations, a happy life force. She said to us many times, "This is fun!"

Chester Nealie is a woodfire/salt glaze potter who worked closely with Janet as a fellow

potter and neighbour for twenty years.

All quotations are from Janet Mansfield speaking in Janet Mansfield,

a film by Jocelyn Stenson, 2009, produced by Mansfield Press.


The Work of Janet Mansfield

by Chester Nealie

At the beginning of Janet Mansfield's potting career, her teacher Peter Rushforth gave her two maxims

that governed her potting life - search for beauty, search for values. In fifty years of making, Janet's

pots showed this quest. Her clay-making and firing have distinctive characteristics. Her work is fluid and

spontaneous and remains unique in many ways.

Janet 's clay came from the Gulgong district - a blend of white clay w ith iron-bearing kaolin (187) from

the Puggoon pits, and local feldspar from Rylstone. This mix gave a rich, warm and sparkling colour in

salt glazing and great moody reds to blacks and yellows in the longer woodfiring. Because her clay body

was her own blend of local materials, Janet liked to say, "I have this romantic idea it's mine."

For forty years she threw on the same kickwheel. Her throwing showed a casual freedom and

confidence of movement - a dance with her clay. Always enjoying the process and working with an

unforced, ego-less action, Janet allowed distortion in her forms. This, and the candid lifting off from the

wheel, gave her pots distinctive character. Her forms always show a 'clay-ness', with a sense of unforced

movement from the natural energy of her throwing.

For twenty-five years Janet made large jars, " .. every time different; one never perfects them," she

sa id, and" ... I've made two or three that I like" . Her large pots were thrown in two pieces, beginning

with the base thrown upside down - "This way you get more lift of form from the base."

Because of a damaged wrist Janet centred using the side of her wrist, working with half the clay at

a time and building to a larger amount on the wheel. Harry Davis taught her the 'claw grip' which she

preferred . Her throwing was quick, proficient and relaxed .

After throwing the top section and when dry enough, the two pieces were put together and a

coil was thrown into a neck. "I never worry about being truly on centre and I like the top to be a bit

uneven. It gives the pot a lively energy."

One of Janet's signatures was her lugs. Over the top of bowls or in prepared spaces on jars, they were

an expression of her freedom and love of the plasticity of clay. Where the pots have a simple beauty of

Janet Mansfield, Jar, 2006

anagama·fired stoneware, h44cm

Photo: Greg Piper

Clay Push Gulgong 2013

Greg Piper on Clay Push

Gulgong 2013

This body of work was inspired by the presence of the late Janet Mansfield

and her impact on my association with the clay community. Our paths

crossed numerous times over many years. I felt creating these photographic

portraits of the masters and presenters was a fitting way of saying thank

you for a long and respected relationship, not just for the assignments

she initiated with me over time, but for the intimate advice and guidance

to interpreting the various forms and substances with which clay presents


Once the seed for this project was planted, the opportunity to engage

these artists was set in motion. However, more importantly, the imagery is a

photographic interpretation of those attending artists and their relationship

with Janet Mansfield and the influence of ceramics on their lives.

I requested each person bring with them" an element or tool that

represented an aspect that contributed to the construction of their own

artwork". This could be a pencil, a tube of paper, a chisel, string, a glaze

sample or any other item - small enough to hold in one hand. All came not

only with an object of sorts, but inspiration to the sitting.

To alleviate the impact of weather conditions and dispersed locations, a

small studio providing a controlled lighting space was constructed within

the Gulgong Opera House 'green room'. A short session was arranged with

each person to maximise participation.

The resulting imagery has surpassed all expectations, justifying the pursuit

of this project and leaving us satisfied and proud of our achievement. A

special thank you to all who helped bring this to fruition at short notice,

and especially Vicki Grima for accepting my project without fear or favour.

A very courageous venture and much appreciated.


Frank ~dm, USA; Masl£r, Clay Pur" Gulgong 2013

My time m C lay Push resonales across clo 'c to thirty years of association

and fril'"ncbhip withJ anPI Mansfield. When ' 'au design and help build a

kiln which fired many a fiiend's best efforts and which played a pan in their

lives' ongoing pursuit of qualil)\ ",hl'n that friend is gone, it is wonderflll to

do something strong and cnl'rgctic to honor thal fricndship. T hm is what

I tri ed to do at Clay Push and I leel [ succeeded. I think that ('veryone

parti cipaled wirh their bl'sl energies. Many thanks.


Naidee Ghangmo;" Thaiulfld; M aster, Clay Push Gulgong 2013

Hundreds of people wbo love lhe same thing corning to a meeting at the

same place made being part of Clay Push one of lbe best experiences of

m\' life. I fdt warm when I said hello or lalked lO those people I never kllc\\:

Clay and fire bronght us to Gulgong. I made hundreds of fr iends in a week.


Kirsten C()(/Jzo, Australia; Master, Clay fU .. " Gulgong 2013

J anet Yfansficld made our world large, all encompassing and inclusive.

She had a wonderflll capacity to ... show what is possible through a

generosity of spirit and a passion for a malerial.

This turning LOol was given lO me wh en [ was nineteen by the daughtl"r

of an elderly woman who had done pOllery for many years in Adelaide.

r have had it with me since then like a bMon from a relay .- a reminder

and link LO the pOIlf'rs who have come before me.


Greg DolJ! Australia; Master, Clay Push Gulgol/g 2013

.Janet \1amfield and all her many rri ends have created a m ~o r and

('nd ~a ring eve nt on any ceramiI.'; calendar. By encouraging interactions at

demonstrations a nd presentations, in exhibitions throughout the lown, on

lhe strcC' t, around a campfirC' or ove r a cold (JIle down at the puiJ, Gulgong

encourages levels or learning, inspiration and experimenta tion th al arC' hard

to attain in evcryday life.


Diana Fay/, USA; Master, Clay Push Gu/gong 2013

J metJanel Mansfield at the 2009 NCECA conference in Phoenix, Arizona.

During a shared meal there was a Hurry of busincss card exchanges and J

kept hers as a treasured memento of having mel one of my all-time clay

heroines. On hearing of her passing in February, r pulled her card out from

a stack J have collccted and placed hers next to my computer to keep the

small part of her I had, near. Three weeks later, I received an il1\~tation

asking if I'd he illler('sted in coming to Australia as a master at Clay Push.

As I fOuchedJanet's card on my desk, I had to ask myself, was it fate?


Norma Grinberg, Brt01; Masin, Cwy Push Gulgong 2013

Gliding freely ... W~ untangled a universe of possibiliLie. that allowed

us (0 Ay high and mastn the space. During the seven davs in Gul~ong


Mananne Hallberg, Sweden; Master, Clny Push Gu/gong 2013

I metJanet M ansfield in 20 II at a symposium in GOIe borg Sweden. We

stan ed to like each other. So [ came from the other side of the world and

lOld my story about my Gucci perfume bottles, flower power and 'ynu

can never have too many things'. This gatheling w a~ lots of fun - wd l

organised with a generous spirit, a successful combinatiun of ceramic

artists, everyune very difTCrcnt in their expressions. [ t was se rious and a

pleasure. It "ill be intcresting 10 see how these new slories \~iU change mc

and my work.


Lee, Kang f{yo, South Korea; Master, Clay Push Gulgong 2013

The temperament of a person is influenced bv one's own natural

environment. The everlasting Ihem~ in my work is based on mountains,

fields and sky. Making something with clay with the hands and then painting

white o,'cr the su rface is an expression of my dream. 1 am alive in this

minute. Finding life's meaning is toO vast and confusing ... a struggle. Lite

is not that exceptional nor does it contain a great Illeaning. Yel the mere

exislence itse lf' is pre60us and beautiful.

Making art is like selling off to travel to find peace in the mind.


Ant-Kalrine VOn Billow, Denmark; MaslRr, Clay Push Cu/gflng 2013

I was inviled to Clay Push in Gulgong. from Denmark to Australia at the

olher side of the world. Lc a\~ n g spring and, within 24 hours, arriving in

autumn with a suitcase full of spatulas, squeegees, clamps, oils, oxides, silksu

eC llS transfer and decal papers, bowls biscuit-fired for demonstration and

others hard-fired for the masters ex hibition. 1 showed my skills. I admired

others. 1 was met with open minds, love and care and [ will never lorge! the

beauty and generosity of the land and the people. Thank yo u!


Jeff Millcham, Australia; Master, C/qy Push Gulgallg 20/3

J travclled hr. across desc rts and vast plains until (,ventually I came upon a curious magical

plan' a town full of polters who only \\'anled to talk about clay and make things OUl of it.

There I mf't a wizard called Chester who made wonderfullhings happen with a wave of his

arm alld I lllct ma ny others from distamlands who had also heard the call and journeyed to

this place. We talked, made things, drank winc and talked some Illorc'

We stood on a hi ll top and gazed at the Milky Way and the Southern Constellations across the

night sky and \\'e all wished th at it would go on forever.

Sadly the time came to depart as our other" orlds called us back. \\'e had secn so man)

amazing things, learned much, shared stories and fe lt th e rush of inspiration aU bathed in th c

brilliant light of gcntle autumn days.

I took one last lingcring look in the rear-vi sion mirror and wondered, as this magical pl ace

disappeared from \~e w. if I would ever he ablc to lind it again. I hm'e been told that it appears

cvery three years and I certainly hope t.hat this pro\'es to be truc.


Clay Push Presenters

- --~~~~~-

Coli Minogue

I am holding The Log Book which I established with Robert

Sanderson in 2000. I was introduced to the process of

woodfiring whilst working with Janet in 1983. We divided our

time between her studios at the back of her Sydney home and

her Morning View property.

Looking back at that time, while I had initially travelled from

Ireland to gain more experience of pottery in a technical sense,

seeing every facet of Janet's life as potter, editor, author, and

much more, brought the realisation that for a more fulfilled and

enjoyable existence, being a potter could involve far more than

the making and firing of pots. Even though I have been back

many times, having the opportunity to participate in Clay Push,

and particularly to visit Morning View, was a special time for me.

Elaine Olafson Henry

The relationship between the June 2013 cover of Ceramics: Art

and Perception (with Janet's image) and the lump of clay are,

to me, symbols of potential. When Janet approached me 10

years ago about 'inheriting' the journals, it was an opportunity

to contribute to the international ceramics field in a new way.

This is an exciting time for ceramics artists and the entire field as

the work in clay ranges from industrial, functional and sculptural

to installation and performance. It is an honour to be covering

the world of ceramics through the journals and to be able to

continue with my own creative exploration in the studio.

Stephen Robison

When I met Janet in Melbourne in the late 80s she was

incredibly giving and welcoming. Over the next few decades I

had the great opportunity to write for her magazines and at

every NCECA I had the pleasure of hanging out and seeing

her new books. Gulgong had been in my mind for some time

and I always wanted to be a part of it. Clay Push was very

special to me ... the people who organised it, the speakers and

demonstrators, and the delegates were all so amazing. Thank

you to everyone, and especially to Janet for being such an

incredible force in the world of ceramics.


Clay Push Presenters

Paul de Jongh

Janet Mansfield really knew the value of tools. There is an image

of her in Woodfired Ceramics: Contemporary Practices

standing ready with a chainsaw, which resonates with me. Her

magazines were the tools I used to build our first woodfired

anagama kiln. Clay Push has also been a tool for me, inspiring

me to initiate Africa's first woodfiring conference here in

McGregor, to create threads of connection. Here I am holding

an axe-head, the tool symbolic of wood-splitting the world over.

I chose this because it connects woodfiring potters, as well as

connecting us with potters from past generations.

Nina Shand

Clay Push signals a turning point for me as a potter - for

the first time I experienced myself as Nina Shand, the potter.

I enjoyed gathering the information for my paper on South

African ceramics and the interactions with those who helped

along the way. We live isolated lives in the South African

countryside and it was such a pleasure and joy to spend t ime

with so many like-minded people. I love this image as it captures

'Nina, the potter'. The comb is symbolic of my handbuilding

methods and it is a critical tool in my box.

Somchai Charoen

I first attended Gulgong for Hyperc/ay in 1998 as a guest artist

from Thailand. At this time I met Janet Mansfield and had the

opportunity to visit her studio at Morning View, an incredible

privilege. I have made the pilgrimage to Gulgong six times 50 far,

never missing since migrating to Australia in 200 1. The object I

hold in this picture is a small mould that formed part of my Clay

Push demonstration - an offering of my craft to the ceramics



Clay Push South East Asian Dem onstrators


Pablo Capati III

We are all connected through clay. Like clay, we all come from the earth; the beauty we experience we

get to share with one another - everyone gathering in the beautiful town of Gulgong, all with the same

goals, unity through clay, and celebrating Janet's life contribution to our common passion. One couldn't

put into words the experiences and friendships we gathered during Clay Push.

Krisaya Luenganantakul

I came across Janet Mansfield's magazine when I was a student in the USA By establishing connections

between artists around the world, her magazine made me realise how a person's dedication, intelligence

and generosity could make such a huge difference to the world of ceramics. In my photo I hold a clay

stamp which I use to create texture in my clay work. To me the stamp also symbolises the countless

contributions that Janet had made, leaving imprints on many ceramic artists' hearts.

Tok Yu Xiang (Todd)

There is a speCial property of clay that has not been described in pottery handbooks ... that of bonding

people together. And the late Janet Mansfield was one who managed to use that special property of

clay to create opportunities which bond many together. As one of the younger generation of practising

artists, I am deeply inspired by that, and upon returning to Singapore I have been digesting the positive

perspectives and energy that I've absorbed from everyone I met in Gulgong. And I'll be looking forward

to removing my Clay Push wristband for a new one in three years time.

Alvin Tan Teck Heng

Four years ago I met Janet Mansfield at the first South East Asian pottery exhibition in Philippines. She

was humble, genuine and sincere and we bonded quickly. I was deeply honoured to give a presentation

on contemporary ceramics in Southeast Asia at Clay Push . Not only was it a great chance for the pottery

community to bond and exchange, it was also refreshing to experience the spirit of openness and

sharing. The connections made were sincere and full of heart. I have met many great people there and I

am looking forward to the next one.


Clay Push South East Asian Demonstrators

All photos:

Greg Piper

Mark Valenzuela

Clay Push was a memorable experience for me. I met so many interesting people and saw many

amazing works that inspired me to work harder. I am holding some wooden spoons because I use the

spoon to paddle my handbuilt work while bu ilding and also to create texture. (I heard that the wooden

spoon has another meaning in Australia, so I hope I haven't jinxed the 'Crows'!)

Steven Low Thia Kwang

Th is year, the SEAPOTS team was fortunate to participate in Clay Push, so I brought along my favourite

tea bowls, all the way from Singapore. Here I present Janet with a gift - my tea bowl - an intimate

object, a sense of achievement, a reminder of gratitude, my love from which my daily needs are derived.

May Janet's passion continue to ignite for another century !.

J ~i; :

,', ' " 0..-... ....

. ........"

·0 NT ~ Li" .

I r:!:I -0- '

Vipoo Srivilasa

Janet inspired me to do what I do now -

connect people together. She was a

great teacher, not by teaching but by

doing. There's still a lot more to learn

from her, like how to travel light but still

look elegant. I wish I could still spend

time w ith her in Gulgong .. . and so I

hold my phone, which shows the website

I made for her!

I miss her.



Focus: Education

Elephant in the Fortress -

Ceramics Education in the

Time of Indifference

Rod Bamford reports from the Clay Push Education Forum

The seismic tremors rippling across the education sector found a voice at Clay Push where a healthy

crowd gathered under the marquee to consider their impact on ceramics courses, their availability and

accessibility. The scope of issues demanded a broad range of perspectives that were reflected by a mega

panel of 10 - educators from the private and public spheres, practitioners and students. Panelists had

five minutes to make points on topics as a catalyst for audience questions and discussion under three

broad themes: the student perspective, shifts and values in public education, and new private, online

and distance education models.

At the core of consideration was the message lingering from Garth Clark and Mark Del Vecchio's talk

at the 11th Australian Ceramics Conference (Brisbane 2006) summarised by the poignant metaphor,

'Fortress Ceramica'. For those who were not there to hear the talk in person, Karen Weiss's article

'Answered Prayers', published in JAC Issue 45#3 is enlightening. Clarke's perspectives on the relatively

introspective interaction of the ceramics movement, practitioners and the market are highly relevant to

ceramics education, even though views may be refracted through different institutional and commercial

positions. The sentiment in Del Vecchio's key statement - "change is not an issue of morality but one of

inevitability" - will be familiar to us all, and framed the tone of the session.

In Australia over the preceding sixty years, the visual arts and crafts sector has enjoyed a relatively

stable and vibrant cultural terrain, underpinning the growth of ceramics courses, practitioners, galleries

and museum collections. More recently, the viability of ceramics education has been the 'elephant in

the room', its future exposed and threatened by university course closures and recent cuts to the TAFE

sector Trisha Dean concisely outlined the key factors influencing the accelerating shift towards a user

pays principal for NSW TAFE courses that the NSW government considers 'non vocational', including

Ceramics and Fine Arts. Understandably, this topic met with a passionate response from the audience,

many angered by the removal of opportunities to study ceramics. Joseph Purtle's talk reflected upon the

immersive experience of studying ceramics at the National Art School as a profound personal journey,

reminding us of the high quality of ceramics education developed through contributions of practising

potters and ceramic artists over many years, and what is at stake should public ceramics education

be dismantled. Trisha also offered a good example of innovative approaches in ceramics education,

outlining the 'open studios' initiative offered at Hornsby TAFE which seeks to address the needs of

students to access post-coursework studio studies.

Jane Sawyer, director of the Slow Clay Centre (SCC) in Melbourne, outlined the anatomy of a

successful privately-funded ceramics education model. It began with Jane's home-based classes, growing

over 25 years (with a long waiting list) to a fully fledged school in the heart of Melbourne employing

professional ceram icists as teachers, and running regular workshops by acclaimed ceramic artists. SCC's

student demographic spreads across 20- to 45-year-olds of which 70% are women and 30% men,


Focus: Education

with many interested in design, architecture and making things. Jane pointed to this interest as a bridge

between ceramics and other disciplines, an 'opening of the fortress'.

Merran Esson offered an inspiring perspective from within the fortress of the venerable National Art

School, making the salient point that as individuals we have an opportunity to take up the challenge of

change and forge our own pathways. By working with clarity and commitment to achieve through the

networked support of a strong and committed ceramics community, the necessary competitive channel

of practice could be balanced by more socially directed ceramics activities.

Stephen Robison spoke of the relationship between values and critical feedback for the undergraduate

and graduate students, reflecting upon his ceramics practice and teaching at the Central Washington

University Ceramics Department. In a short stirring oratory, Steve reminded us that as part of liberal

education framework, students studying ceramics take the important values that we share from the

studio to the broader community, highlighting the fact that what we do and teach has merit 'beyond

the fortress'. His perspective pointed to a growing trend in Australian universities where ceramics

operates within an expanded field. Penny Philpott talked of her experience studying at Sydney College

of the Arts where a conceptual focus provides a strong intellectual basis for practice. In contrast, Hayden

Youlley, a recent graduate from the College of Fine Arts, outlined a number of key points important

in his establishment of a ceramics studio directly after completing his degree. Undergraduate ceramics

study at the College of Fine Arts takes place within an interdisciplinary conceptual framework as part of

a Design, Fine Arts or Digital Media degree. Hayden's practice is design driven with his slipcast ceramic

tableware sold directly to a broad audience and social media playing an important role. Hayden's talk

also reminded us of the importance of teaching fundamental professional and business skills, often

missing from the current ceramics curriculum.

The importance of internet technologies was highlighted in an intriguing presentation by Diana Fayt,

who shared her experiences in creating and teaching The Clayer, her online ceramics course. Diana's

inspiring vision of balancing studio practice and teaching highlighted the success of what many might

think impossible - the teaching of ceramics skills via video tutorials and email consultations. Greg Daly

offered a different approach to online education in the institutional context, outlining earlier distance

education ceramics courses offered by Canberra School of Art. Greg concluded the panel presentations

with a positive outlook on ceramics practice and education. As an educator and distinguished ceramic

artist, he reflected upon the re-emergence of private teaching and similar ci rcumstances in the 1960s

and technological responses to changing education initiatives, highlighting a need for self-advocacy for

the ceramics community.

With education politically framed as a significant Australian export industry, ceramics education

operates within an expanded field in a connected world, bringing with it opportunities to diversify.

The range of questions and comments from the audience and panelists carried the energy of Janet

Mansfield's legacy, reinforcing the innovative ceramics practices alive in Australia today. The emerging

challenge for educators is to incorporate this potential into study pathways that consolidate intensive

singular practices of art, craft and design, whilst also embracing, where appropriate, social, economic,

scientific and the technological relationships between ceramics and other professional or community


Rod Bamford was the education forum chair at Clay Push.

http:// rodbamford.com


Fo cus: Education

looking Around

Karen Weiss considers the alternatives in ceramics education

So, your nearest TAFE has dropped ceramics from its cou rses and your local university is not offering

courses in ceramics. What are your options? Fortunately there are private providers offering a

smorgasbord of everything from basic classes in throwing and handbuilding to workshops covering

specific skills, and residencies for visiting artists.

Some ceramicists run classes from their studios. Classes are generally small (2-6 students) and one-onone

classes are often available - perfect for beginners, particularly for throwing, or those who want that

extra attention to build their skills. Look for these classes online on sites such as Gumtree, in TACA's

InTouch enews, your local library fliers, or by word of mouth.

Some ceramicists take on apprentices or trainees, although this is not a particularly common practice

in Australia; it can be worth asking though. And several well-known Australian ceramicists have done

traineeships with Japanese ceramicists in Japan, but this is a path for the truly dedicated.

Have you contacted your local potters group? These are particularly handy in regional areas, and

there are several in the major cities. Many offer classes, have a shared studio space, meet regularly,

share expertise and information, and participate in local events such as markets or fairs or hold

group exhibitions. Groups may organise activities such as woodfiring or raku or invite guest artists

to demonstrate. Ceramics Victoria Inc., a larger group, has a permanent ceramics collection, holds

a bi-annual Festival of Ceramics, and runs forums and workshops with national and international

demonstrators and speakers. Canberra Potters Society has an artist-in-residence program for Australian

and international artists.

All these groups are dedicated to supporting, training and mentoring ceramicists. New members are

always welcome, and the enthusiam and relaxed approach within most groups make membership an

enjoyable experience. There are 90-100 potters/ceramics groups across Australia. Many have an online

presence or can be contacted through the 10caVregionai councilor library.

If you live in a large city, you might want to investigate your local community/evening/adult education

college. As the name implies. they generally run even ing classes (and occasionally day classes) a good

opportunity for those just starting out who would like a taste of what clay can offer and are working

during the day. Evening college classes are often sociable affairs, however resources such as kilns and

wheels may be limited and classes may have up to 15 people.

Community/art centres can have ceramics/pottery classes and dedicated clayworking areas. Stewart

Scambler at Fremantle Arts Centre near Perth, teaches throwing and handbuilding; Sandra Black teaches

mould making, slipcasting and porcelain jewellery making; and three other tutors teach clay sculpture.

Scambler takes a wholistic approach, weaving glaze technology and decoration into his classes. His role

is both mentor and teacher, encouraging students to expand their ideas and technical skills to ultimately

achieve independence as ceram icists. Arts centres may offer a variety of classes and firings and can be

well set up with wheels, kilns and handbuilding equipment.


Focus: Education

Jane Sawyer helping a student at the Slow Clay Centre; photo: Tiago Brissos

A few years ago, in response to a rising demand and with a desire to provide a high quality learning

environment wholly dedicated to ceramics, individual ceramicists set up ceramics centres or hubs. Ray

Cavill in Brisbane, Jane Sawyer in Melbourne and Fleur Schell in Fremantle, who have all earned degrees,

won awards, received international recognition and taught ceramics at university, recognised a growing

need for providing access to ceramics skills in a dedicated work space with tutoring by professional


Ray Cavill started Clayschool in Brisbane two years ago after converting an old bakery into a

workshop space where he teaches three days a week, leaving time for him to make work as well. Cavill

feels it is important as a teacher to maintain his practice as an artist. He provides flexible access to

classes and individual programs tailored around a student's needs. He adds glaze and clay theory and

discussion of work by contemporary ceramicists into the mix. Cavill says, "My underlying agenda is to

deveJop their eye, develop self critique of their work and make that better and stronger."

For many years, Jane Sawyer taught small classes of 4-6 students in her studio, but when demand for

classes increased recently and she had 250 people on her waiting list, she realised that it was time to

think big. Together with her partner, who handles JT and administration, she found the perfect place in

Collingwood for the Slow Clay Centre. With 100 students attending weekly classes and a team of three

other well established ceramicists, including Prue Venables, she is able to carry out her vision of 'doing

more for students'. Enrolled students can take advantage of Open Studio access times, advanced classes

for working ceramicists, weekend intensives and guest artist workshops. Recognising that, 'people are


Focus: Education


, ,

1 .,. _ ...... ,.' t.._ •

, £

_ ••• i.\

The Clay House, North Fremantle, WA

hungry for a higher level of [ceramicsj education', Sawyer sees the role of the Slow Clay Centre as both

developing future students for further education within TAFEs and universities, and helping students to

work towards a sustainable ceramics practice.

Realising how much she as an artist had benefitted from her residencies at the Alberta College of

Art and Design and other organisations, in 2005 Fleur Schell and her husband Richard Hill set up a

residency program in a privately run clay studio - SODA (Sculptural Objects and Design Australia) - to

host Australian and international artists. In April 2013 they launched SODA Wet Clay Centre (SWCC),

placing both SODA and SWCC under the umbrella name of The Clay House. At SWCC, Schell invited

two international ceramics artists to share their skills and expertise through a range of classes and

specialist workshops. She sees work with clay as offering people the opportunity of 'through their hands

connecting with their hearts and their minds.' The Clay House also offers professional development

workshops in ceramics to visual arts teachers.

The next area of expansion of ceramics education is online tuition. While there are ceramics DVDs

available and many YouTube videos demonstrating specific techniques, Diana Fayt, a US ceramics

artist and designer, offers 6-week interactive e-courses with demonstrations, videos, assignments and

constructive critiques on work made during the course. Fayt does make it clear that these courses are

for those with some experience with claywork. Jane Sawyer is considering exploring this avenue of

education in the future.

If you are looking for experience and skills training without the desire for formal qualifications, or

cannot undertake an extended course because of other commitments or the expenses involved, a private


Fo cu s: Education

left: Anthony Wise, resIdent artist

al The Clay House

Below: children's class at The Clay


provider may offer the answer. Private teachers are often skilled praditioners with extensive experience

and as can be seen above, a w ide choice of classes and courses is available.

FYI - The average class runs 2.5- 3 hours. Individual tuition is usually 1 hour. A day workshop will run

for 5-6 hours. A course term is usually 8 or 10 weeks.

Tuition costs can range from $8.50-$22 per hour; the cost of clay and/or firing may be extra.

Specialist workshops can cost up to $35 per hour and individual tuition is generally $50-$60 per hour.

Many providers also run chi ldren's classes.


Interview Fleur Schell 28/4113; hup:llthedayhouse.com.au

Intef\'lew Ray Ca .... i11 28J4I13; W"NW.dayschool.com.au

Interview Jane Sa'N'fer 2413/13, 'N'NW'.sfCMIcl

Focus: Ed ucation


Robyn Phelan reflects on ceramics-specific workshops and their outcome, in

particular a recent workshop with artist and conservator Penny Byrne

Workshops are immensely enjoyable and I would

be completely addicted if I could afford the time

and money to attend every one that came my

way. I am still bitter with envy at not being able

to participate in Akio Takamori's workshop, part

of the Subversive Clay conference in 2012.

If J were to be more discerning and refledive,

I should ask myself what exadly I have received

from the many workshops and demonstrations

I have attended over the years. Here, I

concentrate on two particular experiences.

Participants of the Penny Byrne 3D Collage

Workshop were asked to bring along a treasured

but broken ceramic object from home. This was

going to be difficult. To stop me pining over its

loss, any ceramic piece that is broken due to the

chaos of my family life is immediately thrown


In the lead up to the session I pondered on

how I might use the skills of three- dimensional

assemblage, restoration and conservation within

my own pradice. I wasn't interested in restoring

broken objeds (that I never keep), however the

ability to connect found objects to my sculptural

work in a skilled and professional manner was


The workshop was a six-hour Saturday

session at Slow Clay Centre, Melbourne, in

February 2013 . We were a full house of potters,

ceramicists and Penny Byrne Facebook fans from

both Melbourne-town and NSW.

After a stimulating slideshow of her eightyear

art pradice and astounding conservation

prowess, Byrne put on her conservator's hat. We

were each given a small majolica tile, which we

smashed into fragments and then had to make

the tough decision on whether to restore or to


Focus: Education

Right: Penny Byrne, left,

with Jane Sawyer, Vipoo

Srivilasa and Robyn Phelan

conserve . Penny explained about her conservation work where damaged objects are brought to her for

treatment. A conservator w ill often allow the repair to remain visually obvious and completely reversible.

This approach helps museums make conservation decisions on the historical objects in t heir care.

A subtle contrast to conservation is restoration. This is where the repair of the object is unrecognisable

from its perfect state and uses materials and techniques that are not eaSily reversible . It is this skill of

concealment that Byrne uses in her art practice, allowing her to seamlessly assemble found ceramic

objects into remarkable sculptures.

For the sake of drying t ime and avoidance of hazardous fumes, we used PVA glue to practise the

process of reassembling, glueing, filling and painting. This process falls in clear stages: 1 st, dry run; 2nd,

sticking run; 3rd, paring back, sanding the overrun glue and filling cracks; and 4th, overpainting. As

simple as that ! Not likely. Byrne demonstrated every stage, clearly stating which glue, paint or solvent

must go w it h its matching material.


Focus : Education

Byrne brought a cornucopia of tools, materials and products into the class and was completely

unprotective about the stuff of her trade. Each material and product was discussed and its pros and

cons revealed; my notebook quickly filled. We watched her deceptively dexterous hand sk ills and

absorbed her many practical tips .

The 3D collage workshop experience provided me with an excellent opportunity to make a

comparison with another series of pottery classes. In 2003 I was an uncertain potter-wannabee who

made her way to Jane Sawyer's home/studio in Fitzroy. At this time, having become a mother I was

tossing around the idea of quitting the juggle of the gallery and museum industry. I felt the desire to

make ceramics for myself, and Jane's weekly evening workshop became the sturdy bridge I crossed into

a full tertiary degree in ceramics at RMIT the following year.

In those days, Jane's studio was snug for six students where she used her palette of materials: rich

brown earthenware, creamy white slip and a few select coloured glazes. We learnt a Japanese technique

of throwing off the hump. Jane's method is a synthesis of East and West styles using one's core body

strength. I concentrated on technique and produced squat, chunky versions of Jane's eloquent fluid

vessels. This brief experience quelled any doubts I had about committing to tertiary study and whet my

appetite for the search for my own touch on clay.

Slow Clay Centre, where I attended the Penny Byrne workshop, opened in 2012 and is the impressive

culmination of Jane Sawyer's 25 years of teaching the ceramics process to hundreds of students in

her home studio. The Centre is an impressive, specialist ceramics education studio offering a range of

weekly classes and intensives by Sawyer and other ceramic professionals. Byrne's workshop was part of

an annual series by guest artists. These two experiences - Sawyer's pottery class and Byrne's 3D collage

workshop, both initiatives of Sawyer's - gave me cause to reflect on how I digest creative input and

what I desire in a workshop.

The way I absorbed the knowledge shared by Byrne in her workshop is different from the experiential

development under Sawyer's tutelage. Byrne's empirical facts were not to be messed w ith; when she

says " this glue product becomes brittle, use this one instead" or "only use acetone with this glue", one


Focus: Education

doesn't question why. Neither am I itching to experiment with other combinations. Byrne's knowledge

comes from years of training and experience. Her instructions were quite clear and confident; she knows

what works best.

After Byrne's workshop I have golden nuggets of information tucked away that I know will solve

sculptural problems that I would otherwise not have imagined or undertaken. Knowledge of the bare

minimum of conservation techniques (yet to be honed) is empowering. In comparison, Jane Sawyer's

years of personal development and teaching throwing came at a time when I needed the inspiration to

pursue ceramics further. Sawyer's shared knowledge expanded my skill set and made me consciously

want to find my own style and touch with the throwing process. It was an encouraging segue into a

broader approach to ceramics that I pursue today.

Towards the end of the 3D collage session, Penny put on her artist's hat and keenly showed us the

process and thinking that directs her artworks. Her conservation skills are the backbone of her work and

from this virtually any outcome is possible. She explained how her interest in current political, social and

environmental issues direct the concept of each work. It was amusing to see how Byrne hacks off parts

of ceramic figures, and the tools necessary to safely perform the act.

Early in her practice, Byrne found antique or opportunity shop figurines were the impetus to collage

together 3-D objects. I remain very much enamored of her first assemblage, It's Murder on the Dance

Floor, where the joyous face of a pirouetting porcelain girl is contradicted by the bloodied head of a

rival dancer held aloft in her hand. Currently, Byrne shops on the Internet to realise a conceptual idea.

The computer search engine often finds the most suitable figurines and toys for her. Keeping Young

and Beautiful, 2011 is an example of this approach. The pre-surgery lass on the left shows Byrne's skill

at bulking up parts of the figurine (t he figurine's thighs) using epoxy putty. Barbie doll sunglasses have

been sourced online for the post-operative Grace.

In this workshop, Byrne explicitly laid out her artistic practice for our consumption. As with Sawyer's

workshop we were shown her technique right down to the materials she uses. While I was a gluttonous

consumer of Byrne's conservation technique and Sawyer's throwing knowledge is still embedded in my



Focus: Ed ucation

Penny Byrne, Keep Young

and Beautiful, 2011

Photo: couretsy artist

own throwing style, I have no desire to copy or adopt these artist's styles. Being privy to their working

practice creates a desire to expand my own practice and be reinvigorated with the act of making,

As a final note I must add that I have found some ceramic items to conserve. The permanent glues

were awkward and assembling was tricky but the outcome was excellent. I used a simple wood fil l for

the cracks, leaving a lovely white tracery of lines reminding me of the history of the object's damage;

just like an ancient pot in a museum, And as for my own work, I have been eyeing off the many

small, plastic objects that I have kept as inspiration for my sculptural forms. One day they may appear,

beautifully attached one hopes, to my ceramic work.

Slow Clay Centre will offer a Penny Byrne workshop again in September 2013, Further guest

artist workshops planned for 2013 include Petra Svoboda. Irianna Kanellopoulou. Shannon

Garson and Andrew Halford,


Robyn Phelan is a Melbourne-based ceramicist and writer; www.robynphelan.com.au


Focus : Education

Finding New Paths

Jasmine Scheidler writes about changes at Lismore TAFE

and John Stewart's contribution to its success

Lismore TAFE is a very special place to me and not just because this is my current place of work. It

embodies a much larger spirit than anyone story. For many, their time at TAFE will remain one of the

most informative and incredible times of their lives. When I was 10, I used to visit my father who was

studying at Lismore TAFE on a regular basis. I'd waltz into the studio, check out the amazing projects

being made, insist I was starving and needed $2 to buy hot chips, and Dad would happily give me the

money so as not to compromise any of his precious time at TAFE with my distracting presence. In my

mind, his time studying at TAFE was perhaps the happiest time in his life. Given the chance to learn and

express himself, he was encouraged to grow and meet his potential as an individual. And his story is not


The Arts Department at Lismore TAFE is just one of the many institutions facing possible closure

in the coming year. In 2012 the State Government decreed that all Visual Art and Ceramics courses

would no longer attract public funding, and would need to become fully commercial to survive. TAFE

was previously a safe haven for many people from all walks of life, welcoming students from diverse

socio-economic and cultural backgrounds, giving them a chance to function better on an everyday basis

and providing the foundation for people to move forvvard confidently into the future. It was also the

birthplace for an incredible range of artists. Lismore TAFE was central to the arts/ceramic scene on the

North Coast so the loss of the Arts Faculty is a real blow, not only to individuals but also to the wider

community which has benefited so much from this rich incubation centre. The graduates kept the area

1 Gwanji Monks

CeramiCS teacher

Photo: Stuart Hayes

2 Suvira McDonald

Emerald M ountain

Former student

Photo: courtesy artist

3 Avital Sheffer

Tum ulus VIII

Former student

Photo: David Young


Focus; Education

looking beautiful, and supported our economy through their creativity, effort, and art practice as well as

delighting and educating the wider public.

Due to budget cuts, many TAFE employees have been made redundant this year, including John

Stewart, who is a quiet man and not the type to seek accolades. With these changing times however, I

feel it is not only appropriate but also important to acknowledge his tremendous contribution.

Avital Sheffer, a former student of John's at Lismore TAFE, described him thus: "John Stewart was

the backbone of the arts department with his bottomless well of knowledge. He was always available

in a humble non-imposi ng way." As a teacher at TAFE I felt this same support. John had faith and trust

in the incredible team he employed at the institution. I was given the space and freedom to create and

manage my own classes while also being inspired by the other teachers who shared thei r diverse skills

and experiences. John walked the delicate line between the bureaucratic world of institutions, teachers

and students, all the while maintaining artistic and educational integrity. He had an amazing ability to

creatively work with increasing budget cuts and still grow the facility. His commitment to the students

and his teaching staff was evident right up to the hour he left. If you haven't visited Lismore TAFE you

might not know that it justifiably claims to be one of the finest ceramics workspaces of any institution

in regional Australia. John designed this with the foresight to create a space that simply flowed while

allowing safe and easy working practices. It truly is a pleasure to teach in it !

As I w rite this, John is about two weeks into his freedom from the system. Although premature, it will

be a well-earned rest. His technological skills are now being utilised in innovative ways in his studio. In

recent years John has been training in the use of 3D CAD product design software to produce Computer

Numerically Controlled (CNC) and 3D printed components. These are now being utilised in his newly

commissioned studio. I look forward to seeing what transpires. In the meantime, both TAFE and I have

been greatly enriched by his creative problem solving, integrity and vision. For this we thank you, John!

Lismore TAFE has seen an incredible flow of teachers and visiting artists, not limited to but including

Kerry Selwood, Sandra Johnston, Ian Currie, Sandra Taylor, Bob Connery, Geoff Crispin, Gwyn Hansson

Pigott, Andrew Halford, Fergus Stewart, Mark Warren, Jack Troy, Margaret Tuckson, Fiona Fell, Tony

Ch innery, Dennis Monks, Malina Monks, Liz Stops, Caroline Lewis, Ruth Park, Gwanji Monks, me

(Jasmine Scheidler) and, of course, John Stewart. It has been a central hub for ceramicists on the North

Coast. I am grateful that artists are compulsive people who will continue to create, regardless of any

outside circumstance . They have the ability and flexibility to move in unexpected ways. I am positive that

although the road ahead for us as ceramicists may be changing, we'll find a way. At the same time, I

can't help but think that without Lismore TAFE Arts Faculty, the North Coast might have been quite a

different place.

Jasmine Scheidler is a practising artist, educator and writer living in Terania Creek on the North

Coast of NSW; E: jasminescheidler@gmail.com

Opposite page: John Stewart in his studio


Focus: Education

National Education

Pictorial Survey 2013

Note: Due to a lack of space,

full captioning of images is not

possible. Please contact the

editor if you would like more

information on any image

featured in this survey.

Australian National University

School of Art, ACT

http://50a.anu .edu .au

1 Amy Hick

2 Jo Victoria

3 Zoe 51ee

Central Institute of Technology, Perth, WA

www.central.wa .edu .au

1 Isis Dorado

2 Katherine Bennison


Focus: Education


Holmesglen Institute of TAFE, Chad stone, VIC


1 Rachel Cramer

2 Pie Barberis

3 Yuso Lee

4 Susan Frankel

Hunter Institute of TAFE, Newcastle Art School, NSW


1 Anthea Rogerson


Focus: Education

lIIawarra Institute of TAFE, Goulburn, NSW


1 Penelope Hoskins

2 Ann Doreen

3 Irene Ross

4 Pauline Ingall

TAFE SA, Mount Barker


1 Suzy Fagan

2 Matilda Bryson




Focus: Education

National Art School, Sydney, NSW


1 Hidemi Tokutake

2 Alana Wilson

3 Anne-Marie Jackson

4 Jenni Eleutheriades

5 Addison Marshall

6 Sarah O'Sullivan

7 Melanie Jayne Hearn

8 Mary Sou maher

9 Charlotte Le Brocque




Focus : Educatio n

North Coast Institute

Lismore Campus


1 Mitra Moser

2 Amanda Bromfield

3 Peter McGowan

4 Lena Logan

Northern Sydney Institute - Hornsby Campus


1 Kylie Rose McLean

2 Janeane Moore

3 Marjatta Kaukomaa

4 Clare Unger

5 Kay Wulff

Photos: Steve Cummings



Focus : Education

Northern Sydney Institute

Northern Beaches Campus


1 Ros Lowe

2 Margaret Paradysz

3 Dawn Carroll

4 Jenny Blackwell

5 Jing Gandy

6 Robert Towns

Photos: Steve Cummings


Sunshine Coast Institute of TAFE


1 Isla Griffin


Focus: Education


RMIT University. VIC


1 Janetta Kerr Grant

2 Jacqui-Rae Cai

3 Varuni Kanagasundaram

4 Erin Dixon


Jeremy Dillon



Sydney Institute of TAFE

Gymea. NSW


1 Ros Owen

2 Frances Wilson

3 Andres Caycedo

4 Mei Ling Wong




"t it

~ E~ ?:l~

'ftNBE r




Focus: Education

TAFE SA. Adelaide College of the Arts

www.tafesa .edu.au/adelaide-college-of -the-arts

1 Tatiana Williams

2 Joy Furnell

Tasmanian Polytechnic


1 Virginia Perkins

2 Ken Ryan

University of Newcastle. NSW


1 Elizabeth Curran

2 Kylie Salm

3 John Heaney


Focus: Education

University of NSW, College of fine Arts


1 Santin a Ingui

2 My! Doherty

University of SA, South Australia School of Art

Architecture and Design


1 Sami Porter

2 Lauren Abineri

Photo: Mark Kimber

3 Michael Carney

Photo: Mark Kimber

4 Maddie Deere

5 Ebony Heidenreich

Photo: Phil Martin




Focus: Education


of Southern



1 Antony Lowndes

2 Erin Herman

3 Lynette Larson



Western Sydney Institute

Nepean College. NSW

http://wsi.tafensw.edu .au

1 Karen Normoyl

2 Andrew Hickey

3 Calen Sterling



Focus: Ed ucation

Out of the Hands of Babes

Birgit Sowden reports on her journey of working with children in the classroom

I have long enjoyed the spontaneous way that children create artwork. Their

ease of expression, that ability to disregard anything extraneous or peripheral,

the lack of self-censorsh ip, these intangibles are for me the most elusive of all

aspects of creating and are probably what I strive for most in my own artistic

practice. So whenever the opportunity to do clay work with school children

arises, I grab it with both hands.

The projects work best when they tie in with the units of study being

undertaken concurrently in the classroom . Examples of such projects I've run

have included making aliens and planets during a science unit about outer

space, bugs during a permaculture unit, and Christmas bells during a unit on


In 2011, the project I undertook with a Year 2 class resulted in a 500-

piece wind chime sculpture. The children were doing a Study of Society and

Environment (SOSE) unit on rainforests, which progressed over a period of

several weeks. They looked at different aspects of the rainforest structure

including the forest floor and canopy, the types of animals and plants that exist in the forest, and the

role of rainforests in the ecosystem. The students had also been studying insects in their science unit

and had been encouraged to bring live animals and insects into the classroom for show and tell. They

had seen numerous types of beetles, snake skins and even a large green tree frog. The benefit in such

situations is that by the time I came to them the children were well informed and enthusiastic about

rainforest habitat. In a project like this there are strong links between the children's prior immersion in

the topic, their level of engagement, and the outcome.

The largest project I have undertaken with school students was the Friendship Columns. With

unbridled energy and enthusiasm, around 180 children set to work w ith clay and glazes to express what

they knew about friendship.

My brief from the school was to collaborate with the Year 2 and Year 5 children in the creation of a

sculpture that would fill a particular space in the garden of the Junior School playground. 'Friendship',

as a topic, seemed the obvious choice. Given that friendsh ip is something that school ch ildren dea l with

every day, I was confident they would know enough about it to inform the work they produced. It's also

a broad enough topic to give each of the children the opportunity to work at their own pace and to

their own ability.

After conSidering the designated space, its surrounding environment and the number of children

involved in the project, I decided to use bricks as component parts of the sculpture. Each child was

responsible for creating one brick - a separate and identifiable, yet integral, component of the whole.

Above and opposite page: Birgit Sowden and Year 2 students of Sunshine Coast Grammar School

Rainforest Wind Chime, detail. 2011 , white stoneware. para cord, 12800(, h.160cm. w.9Ocm. d.60cm

Photo: Peter Meyer


Focus: Education


left and below: Birgit Sowden and Years 2 and 5

students of Sunshine Coast Grammar School

Friendship Columns, detail, 2012, white stoneware

1280"C. h.207cm. w. 18OCm. d.l SOcm

Photo: Patrick. Woods

Vital to the success of the project was for the

children to know they had complete freedom

of expression without any limits on technique

and design (other than brick size). To help them

achieve optimal results. the children worked in

small groups. No time constraints were imposed.

If they didn't finish in one session, they could

come back for another. This allowed a oneon-one

approach and ensured that no child's

questions went unanswered.

It was wonderful to be privy to the creative

thinking within each group - to see the

processes of the children's uncluttered minds

reflected and recorded in the clay. I was

fascinated by their problem-solving capa bilities.

When faced with something that wasn't

working, some children chose to scrunch up or

smooth over the clay and start again. others

chose more expedient methods of solving

problems, including folding long legs over to

double their thickness and halve their length

to fit the figure onto the brick. When ~ne boy

realised he couldn't fit his words as well as his

figures onto the brick. he put the writing straight

across the middle of the figures. Another child

wrapped her too-long clay figure around the

side of the brick. Often, it was this spontaneous

correction that was integral to the unique

creativity in the children's work.

As the Year 5 students had been studying

figures of speech in English, I encouraged them

to use metaphors or similes about friendship as

starting points for their designs. This was a lot of

fun and I was often astounded at the profundity

of the children's expressions. They created

numerous quotes, in simpler language, mirroring

what philosophers had said centuries earlier.

Watching the children glazing was as

fascinating and inspiring as the making process.

Their choice of colour - where they put it and

how - was always interesting to watch. They


Focus: Education

---._--- -----

Above and below: Birgit Sowden and Year 1 students of Sunshine Coast Grammar School, Aliens, detail, 2010

Earthenware. 1100°(, h.2Scm. w.90cm. dAOcm; photo: Peler Meyer

seemed to enjoy the forgiving nature of the process as it allowed for endless experimentation. On many

occasions, when a child managed to get colour in places where they didn't want it, they just sponged

it off and tried again. This created interesting effects and at the same time informed the children about

the process.

The bricks were fired to 1280°C in oxidation. Construction of the columns involved concreting a steel

core pole into the ground and building the columns around the core, as a bricklayer would build a pier.

The project was a labour of love. It was a privilege to witness the children's inherent intelligence and

creativity at work during their exploration of clay and glazes in the making of this artwork. I would

highly recommend such an endeavour to any artist in need of inspiration. By the time the children's

creative odyssey had come to an end, I was brimming with ideas and energy for new work of my own.

Birgit Sowden is a Queensland College of Art graduate. She lives at Eumundi in the Sunshine

Coast hinterland and manages a part-time ceramics practice between juggling various family

and community responsibilities.






Over this weekend potters far and wide

will open their studios and welcome

visitors into the special spaces where

they create.

This Australia-wide inaugural

celebration of ceramic studio artists is

an event with more than 100 members

of The Australian Ceramics Association

participating - a national weekend of

clay, creativity and community!

Walk down the street and around the

corner to discover the hidden artisans

in your area, or jump in the car and

travel further afield.

From backyard studios to artist

precincts, you are invited behind

the scenes to experience passionate

potters throwing on the wheel,

decorating with glaze or firing their

kiln . In a world filled with the mass

produced, treat yourself and choose a

hand-made pot to take home.

Discover the mud!

Unearth your local potter!

Open Stud io Ceramics Australia

Claire Atkins

South Golden Beach NSW

Ceramic Workshop

School of Art, ANU


T: 02 6125 5823 http://soa.anu.edu.au/ceramics

Judy McDonald

McKellar 2617

T: 0414 342 916

Claire Atkins

Pinky & Maurice

Contemporary Ceramics

South Golden Beach 2483

T: 0420 986 570 www.pinkyandmaurice.com

Kay Alliband

Judy Boyde ll

Carolyne Brennan

Hot Dot Designs

Carl ingford 2118

Erskineville 2043

Chester Hill 2162

T: 02 9871 3145 www.kayalliband.com

T: 0429 310 493

T: 0422 089 766 www.hotdotdesigns.com.au

Margaret Brown

Ursu la Burgoyne

Nadja Burke

Central Coast

Potters Society

Irene Charnas

Mudslinger Ceramics

Kanoona 2550

Marrickville 2204

Milton 2538

East Gosford 2250

Sydney Olympic Park 2127

T: 02 6492 5207

T: 0295595127

T: 0403 997 297 www.facebook.com/pages/Nadja-


T: 02 4324 5343 www.ccpotters.org




Open Studio Ceramics Australia


Annette Copland

(offs Harbour NSW

Clay Cliff Creek Studio

Nicola Coady

Jennifer Collier

Purple Ridge Pottery

Annette Copland

Jane Crick

Helen Earl

Janna Ferris

Margaret Gock

Malcolm Greenwood

Szilvia Gyorgy

Lyn Hart

Rouge Hoffmann

Sally Hook

Niharika Hukku

Karen Jennings

Tooheys Mill Rd Pottery

Diamando Koutsellis

Parramatta 2150

Thornleigh 2120

Tarago 2580

Coffs Harbour 2450

Tarago 2580

Oxford Falls 2100

Tanja 2550

Mosman 2088

Mosman 2088

Sydney Olympic Park 2127

Leura 2780

Lovett Bay 2105

Nambucca Valley 2447

Drummoyne 2046

Fernleigh 2480

Croydon Park 2133

T: 0415414589 www.parraclay.org

T: 02 9484 2067 www.nickycoady.com

T: 0422 976 430 www.facebook.com/


T: 0428 755 792

T: 026161 0806 www.janecrick.netfirms.com

T: 0428 128322

T: 02 6494 0272


T: 02 9953 8613 www.malcolmgreenwood.com

T: 0423 807 042 www.szilverworks.com

T: 02 4784 1990 www.hartceramics.com.au

T: 0420 289 726 www.artspacerouge.com

T: 026568 1903 www.olmosis.net.au

T: 0420 907 123 www.niharikahukku.com

T: 02 6687 8307 www.facebook.com/

T ooheysMiIIPottery?ref=tsat"ref=ts

T: 0439 935 228 www.diamando.com.au


Open Studio Ceramics Australia

Willi Michalski

Church Point NSW

Catherine Lane North Ocean Shores 2483

Emily Laszuk Bathurst 2795

Janette Loughrey West Wollongong 2500

The Sweat House

T: 0403 527 545

T: 02 6337 1421





Macquarie Hills Potters Baulkham Hills 2153

Katherine Mahoney St Ives 2075

Denise McDonald Randwick 2031

Suvira McDonald Goonengerry 2482

Zani McEnnally Mullumbimby 2482

Marian Mclaren Five Dock 2046

Susie McMeekin Katoomba 2780

Willi Michalski Church Point 2105

Newcastle Newcastle 2300

Studio Potters Inc

T: 0419 477 903

T: 02 9449 9944

T: 02 9665 5875

T: 02 66849194

T: 0417 867 801

T: 0400 834 112

T: 02 4782 4517

T: 02 9997 1933

T: 0407 576 589









Biljana Novakovic Strathfield South 2136

Kim-Anh Nguyen Dural 2158

Michele Petrie Avalon 2107

Pittwatens Edge Studio

T: 0412882313

T: 0404 067 407

T: 0404 236 321




Open Studio Ceram ics Australia

linda Seiffert and

Jacqueline Spedding

lawson NSW

Aleida Pullar

Studio Latitude 33

Avoca Beach 2251

T: 0408 821 464 www.aleidapullar.com

Louise Ranshaw

Bant Street Pottery

Bathurst 2795

T: 0400 130 792 www.louiseranshawpottery.com

Linda Seiffert and

Jacqueline Spedding

Cascade Street Studios

Lawson, Blue Mountains


T: 0410 261 570 www.lindaseiffert.com


Lindy Rose Smith

Rosedale Street Gallery

Dulwich Hill 2203

T: 0423 253 448 www.rosedalestreetgallery.com

Janet Selby and

Marion Stehouwer

Something at Marys

Sue Stewart

Debbie Stone

Sian Thomas

Natalie Velthuyzen

Toni Warburton

Ted Watson

Rosebud Farm

Yuri Wiedenhofer

Bundeena 2230

Adamstown 2289

Clandulla 2848

Katoomba 2780

Hornsby 2077

Marrickville 2204

Malua Bay 2536

Tanja 2550

T: 0421 369 707 www.somethingatmarys.com.au

T: 0407 576 589 www.ceramicartist.com.au

T: 0428 428 498

T: 02 4782 5440 www.sianthomas.net

T: 0432 895 898

T: 02 9558 8511

T: 024471 7375

T: 02 64940288


Open Studio Ceramics Australia

Fiona Banner

Townsvil le QLD

Jenny Wiggins Willoughby 2068

and Kara Pryor

Jo Wood, Pymble 2073

Amanda Hale,

Ray Stevenson and

Jill Klopfer

T: 0438 717 557

T: 02 9402 6293





Vicki Xiros Belmore 2192

T: 0404 104299


Fiona Banner Townsvi lie 481 2

Mollie Bosworth Kuranda 4881

Cairns Potters Club Inc Cairns 4870

Helen Davey Kenmore 4069

Carol Forster Mons 4556

Sam Keane Gympie 4570

John Kimpton Dellow Meringandan West 4352

Jenny Mulcahy Magnetic Island 4819

North Queensland Railway Estate, Townsville

Potters Association Inc 4810

T: 0409 096 720

T: 07 4093 9063

T: 07 4053 7508

T: 0411 660 143

T: 0414371 079

T: 07 5483 6476

1: 0746967149

T: 0402 860 564

T: 07 4772 3458




www.carolforster.weeb ly.com






Ope n Studio Ceramics Australia

Stephen Roberts

and Kari

Palmwoods QLO

St~ phani~

Outridge Field

Beatrice Prost

Megan Puis

Stephen Roberts

and Kari

Clayfield 4011

Tinbeerwah 4563

Nerang 4211

Pa lmwoods 4555

T:0417886185 www.facebook.com/


T: 0434 912168 www.agileargile.com

T: 0408 155 667 www.meganpuls.com

T: 07 54450622 www.stephenroberts.com.au

Kim Schoenberger

Kay ~ Stephens


Sunshine Coast

Hinterland 4560

Conondale 4552

T: 0408182760 www.kimschoenberger.com

T: 07 54350330 www.grakay.com

Gabi Sturman

Annette Tranter

Bundarra Pottery

Yungaburra 4884

Malanda 4885

T: 0425809018 www.gabi.com.au

T: 0428 401 970 www.annettetranterartist.com.au

6 Hands Studio

Sophia Phillips

Alison Smiles

St~ ph a ni ~


West Croydon 5008

T: 0438 637 778 www.6handsstudio.wordpress.com


Open Studio Ceramics Austra lia

Malcolm Boyd

Fernbank VIC

Anna Couper Para Hills West 5096

Angela Walford Fairview Park 5126

T: 0428 494 320 wwwannacouper.blogspot.com.au

T: 0412 848 878 www.angelawalfordceramics.com.au

Julie Day Kayena 7270

Clay by Day

Neil Hoffmann Reedy Marsh 7304

Reedy Marsh Pottery

Jude Maisch Lindisfarne 701 5

Sen Richardson Sandford 7020

Ridgeline Pottery

Tasmanian Ct:ramics Glenorchy 7010


T: 0422 665481 www.claybyday.com

T: 03 6362 3800 www.neilhoffmann.com.au

T: 03 62430195 www.judemaisch.com.au

T: 0437 489 023 www.ridgelinepottery.com.au

T: 03 6268 6222 www.tasmanianceramics.com

Jane Annois Warrandyte 3113

Jan Sell Foster 3960

Stephen Senwell St Kilda 3182

Malcolm Boyd Fernbank 3864

T: 0422 942 216 www.janeannois.com

T: 0488 449 063

T: 03 9534 8997 www.stephenbenwell.com

T: 0351576366

Open Studio Ceramics Australia

Vipoo Srivilasa

St Kilda VIC

Adriana Christianson

Ann-Maree Gentile

Amusing Clay

Croydon 3136

Warrandyte 3113

T: 0488768 137 www.adrianachristianson.com.3u

T: 0404 071 066 www.amusingclay.com.au

Helena Griffiths

HG Pottery & Arts Studio

Upwey 3158

T: 0414 62S 483

Christopher Headley

Gary Healey

Lene Kuhl Jakobsen

Jack Latti

Olga Maxwell

Merrill Orr

Chris Pittard and

Mary-LOU Pittard

Wendy Reeve

Jane Sawyer

Slow Clay Centre

Vipoo Srivilasa

Kate Stuart

Blue Ibis Studio

St Kilda 3182

Balwyn 3103

Heidelberg 3084

Eltham 3095

Olinda 3788

Hansonville 3675

Eltham 3095

Eagle Point 3878

Collingwood 3066

St Kilda 3165

Venus Bay 3956

T: 03 95342115 www.christopherheadley.net

T: 0468 814 431 www.garyhealey.com

T: 0405 355 702 www.lenekj.com

T: 0400 166476 www.jacklattidesign.com

T: 0409174771

T: 0437341 596 www.merrillorr.com

T: 03 9431 0401 www.pittards.com.au

T: 0406 066 332 www.wendyreeve.com

T:0418106039 www.slowclay.com

T: 0425 710 149 www.vipoo.com

T: 0408177 469


Open Stud io Ceramics Austra lia

Alistair Whyte

Warbunon VIC

Jill Symes Studio Sandringham 3101

Syco Ceramics

T: 03 9598 1993

www.j il lsymes-ceramics.com

Maria Vanhees Bendigo 3550

Alistair Whyte Warburton 3799

Dawn Whitehand Ounnstown 3352

Juliet Widdows Menzies Creek 3159

T: 0428 991 294

T: 0422 084 728

T: 0438 382 522

T: 03 5968 3026


Ma riaVan heesCera m ics



www.j ulietwiddowstudioceramics.com

Belen J. Berganza Fremantle 6160

Sandra Black South Fremantle 6162

Greg Crowe Hovea 6071

Hovea Pottery

T: 0420504481

T: 0407 985 028

T: 08 9298 8047



Guildford Village Guildford 6055


T: 92799859

www.gu ildfordpotters.webs.com

Graham Hay Perth 6000

Robertson Park

Artists Studio

T: 0432 978 733


For full details, maps and locations, visit OSCAS online: http://tinyurt.com/n42cs8j


Pro m o t ion





The Keane Ceramics Open Day 2013 was held on Saturday 15 June at Northern Sydney Institute

Ceramics Department. The aim of this annual day is to inspi re potters, promote ceramics and to

stimulate learning.

Leading ceramic artists Sue Buckle, Merran Esson, Malcolm Greenwood, Bruce McWhinney and

Cameron Williams were the drawcard to the 220 plus students, lovers of ceramics and potters who

enjoyed a day of demonstrations, advice and stimulation.

To join the mailing list for a heads-up on the 2014 event, register your interest by emailing

sales@keaneceramics.com.au .






Promoti on

Keane's Master Blend

Introduci ng a new smooth and consistent po rcelain body

fo r the professional potter.

"We have been producing the Master Blend for

many years now, but only available by special

order. It has proven to be an exceptional clay

body and we are delighted to be able to add it

to our range," said Babette Keane from Keane


Keane's Master Blend is a professional porcelain

body that produces beautifully pristine white

pieces under high fire temperatures.

If you're a professional potter looking for an

affordable porcelain body with true workable

properties and excellent fired results, then look

no further than Keane 's Master Blend.

Now available:

10kg bag, $24.75

Cone 10


Contact Keane Ceramics for

further details:



Malcolm Greenwood on Keane's Master Blend:

As most of my business is producing tableware for restaurants and hotels, I need a porcelain

which provides a better glaze fit for some of my glazes than the standard Keane's Porcelain

and is better suited to commercial applications. I tested a number of bodies and settled on a

50150 mix of the Keane's Porcelain and the imported Traditional Porcelain.

Most importantly, the new blend provides a body which is a good glaze fit and which, after

several years, seems to be standing up to the commercial restaurant environment very well,

especially the commercial dishwashers - no small feat!

The blend also provides a body which is relatively easy to use, reliable, and somewhat forgiving

of my forming processes: throwing, press moulding, extruding and jigger jolly. In production,

this ease of use is of primary importance.




Keane Ceramics adds

Xiem Studio Tools

to their range

Xiem Studio Tools are the new essentials for clay artists. Every tool in the range offers a simple solution

and creative purpose, focusing on good design and high quality finish .

Founder and creator Kevin Nguyen is the inspiration behind Xiem Studio Tools. As a clay artist and

industrial designer he has created a high quality range of indispensible tools that weren't previously

available. These include Xiem's popular Art Roller pattern makers, professional Carbide Trimming

Tools, high quality Precision Applicators, funky retractable X-Sponge, X-Bevel for precise cutting, a

must for hand builders! Once you've tried Bat Mate you'll never throw without it again! Plus, there is

the amazing flexible Potter's Wand throwing stick and a range of Stainless Steel Modelling Tools.


GAUGE 20 18 16


~ National mail order

~ Extensive range

)$- Manufacturers of Keane's Clay

)$- Pottery Tools

)$- Mudtools

)$- Xiem TM Studio Tools

)$- Chrysanthos Glazes

)$- Equipment and Supplies

)$- Clayworks and Feeney's Clay

~ New clay ... new tool range

Check out our new Master Blend

Professional Porcelain Clay Body and

Xiem Studio Tools range, see this issue

for details.

View I

Crawling Through Mud:

Australian Ceramics and the

Japanese Tradition

A review by Prue Vena bles

This remarkable exhibition at the Shepparton Art Museum (SAM) documents the influence of Japanese

ceramics on the development of Australian studio pottery throughout the 20th century. Guest curator

Tina lee draws on SAM's extensive collection to construct an insightful display and thus chron icle the

interweaving of ideas and inspiration that has historically underpinned the work of many of Australia's

finest potters.

From the 1940s, some of the earliest work in the SAM collection, that of Klytie Pate and Peter

Rushforth, demonstrates low-fired earthenware forms with tightly controlled carved patterns,

accentuated by running coloured glazes breaking over edges. At the time of their making, and as the

influence of Bernard Leach through his publication The Potters Book began to spread widely, these

pots with their clear references to English art pottery were almost considered to be heretical. Now,

in hindsight, they play an important role in the initiation of this story - of cross-cultural exploration,

change and development. Already there were signs of oriental influence appearing, with a lovely refined

example by Alan Lowe particularly catching my eye - a green Chinese ginger jar form on an elegant

raised stand.

This was an era of great enthusiasm for making pottery, but there were no suppliers selling

conveniently mixed and bagged clays and materials. It was a time of great self reliance and

resourcefulness with digging and preparing clay, the use of local minerals for glazes, and the building

of kilns being essential and commonplace. Inspired by Leach and his book, many potters moved away

from the soft, low-fired earthenware and began excitedly experimenting with oriental glazes, stoneware,

porcellaneous clay bodies and high firing techniques. The Kent Collection of oriental art at the National

Gallery of Victoria (NGV), with its Chinese ceramics from the rang and Sung dynasties, provided

beautiful classical forms as inspirational reference material.

Post war, opportunities opened for Australian potters to travel to Japan to explore Eastern culture

and ceramics more closely. The work of Les Blakebrough, Peter Rushforth and Milton Moon shown here

demonstrates, through simplicity of form and decoration, their absorption of the aesthetics of Japanese

ceramics and cultural life. Col Levy's five sweet teacups highlight this in both form and number,

beckoning me to reach through the wall of glass to hold and drink from them.

Sim ilarly, Ivan McMeekin worked under Michael Cardew at the Leach Pottery in the UK and returned

to inspire a generation of woodfirers including Gwyn Hanssen Pigott, Chester Nealie, Owen Rye and

Col Levy. Owen Rye is represented here by a large and stately vessel - dry, muscular, robust, and with

gorgeous blushes of orange colour.

Such cross cultural exchange continued throughout the following decades with many Japanese

potters visiting and even settling here in Australia. Such makers as Mitsuo Shoji and Heja Chong have

impressive representation here. Heja Chong's graceful vessel reflects so clearly the life and intensity of


Left to right: Robert Allan, Joan Campbell, Joan Campbell, Koji Hoashi, Gwyn Hanssen Pigott, Col Levy

Photo: courtesy Shepparton Art Museum

fire, flame and wood experienced during the ten-day firings of her Bizen kiln. Reminiscent of the mossy

side of a forest tree, the surface facing the flame holds its thick glaze skin as if wearing the impact of

an intense and enveloping force, whilst also protecting the quiet darkness of the other dense and waxy

flank. There is such energy and life expressed here. Gwyn Hanssen Pigott's first tall and elegant bottle

forms were fired in this kiln, and so the influences weave onwards.

Since the 1960s, a strong and committed community of potters worldwide has worked with and

adapted traditional Japanese woodfiring techniques and glazes, with specific methods such as raku,

and wood combined with salt becoming popular. Australian potters were no exception. A particularly

wonderful pot by Janet Mansfield stands proudly here, a soft and energetically thrown form, its glowing

surface liberally sprinkled w ith the characteristic 'orange peel' markings of wood and salt glazing - an

appropriate memorial.

Gail Nichols has also entered this culture of experimentation, developing new methods of soda firing.

Her pieces here are voluminous and, with dense waxy crystalline surfaces, matt and billowing as if

puffed and folded over, interestingly reminiscent of the costumes seen here at SAM in the concurrent

exhibition of gorgeous Japanese prints.

Meanwhile in Japan during the late 1940s, an avant-garde ceramics collective known as the Sodeisha

group was formed in opposition to the more traditional M ingei or folk craft movement followed by

Bernard Leach . This group was influenced by the works of European masters including Paul Klee, Joan

Miro and Pablo Picasso and led to the development of the modernist Japanese ceramics movement.

The title of this current exhibition Crawling Through Mud is the direct English translation of the

Japanese word 'Sodeisha '. Mitsuo Shoji was a member of this group in Japan before living and teaching

in Australia for many years . Shoji's piece here is monumental and impressive. The conceptual and

experimental influence of this Sodeisha group on Australian ceramics was heightened in 1978 by the

donation of a landmark exhibition of their work to the Newcastle Art Gallery.


View I

Shigeo Shiga, Bottle, 1976, porcelain, h.24.2cm, w.26cm; Shepparton Art Museum

Gift of the Victorian Ministry for the Arts, 1987; photo: Amina BaroUi

The rich historical and contemporary culture of ceramics in Japan has clearly influenced and inspired

many Australian studio potters. It is wonderful to see evidence of this in so many different touches

throughout this exhibition.

Trained in Japan, Jane Sawyer throws deftly, as if gently pulling the clay with dancing movements.

Alan Watt turns clay into a dense waxy structure like burnished stone, energetic and flowing but

held still like a wing frozen in flight. David Pottinger uses the Japanese technique of neriage, with

softly merging coloured clays at times like graphite drawings of rivulets of smoke or flowing water,

then suddenly focused into a draped fragment of structured textile pattern. Edwina Kearney presents

cushions of pure, delicate bone china holding gentle references to Japanese cloth and implements.

Christopher Sanders uses sleek coverings of rich oriental blushing glazes on refined and elegant forms

while similar glazes appear as robust sweeping strokes enveloping a large blossom jar by Koji Hoashi.

There is such variety and adventure of exploration here.

This is indeed an exhibition not to be missed.

Crawling Through Mud: Australian Ceramics and the Japanese Tradition

25 January 2013 - 19 January 2014

70 Welsford St, Shepparton VIC 3630

T: 03 58329861; F: 03 5831 8480



Robyn Phelan, Celadon Landscape, 2008, handbuilt. Jingdezhen·sourced stoneware, tissue decals, celadon glaze

h.10em, w.22em, d.ll em; photo: Christopher Sanders

Delivering on the Long Look

Roisin O'Dwyer considers the recent work of Robyn Phelan

So much of what we see in exhibitions requires the viewer to do a fair bit of detedive work to

understand what it is that the artist is intending, and whether they have delivered. Sometimes it's

frustrating to find yourself working hard in an exhibition to unpack its message, and sometimes it is a

pleasurable part of viewing artworks to follow an artist's subjed and relate it to a broader network of

ideas. The exchange between the viewer, the artwork and the exhibition is changeable and, to be of real

value, the viewer needs pradice at looking. Curator and writer Naomi (ass once described this pursuit

as the 'long look', an effort that requires the viewer to take in all the information the artist is presenting

and to then think through what you are seeing and what ideas you are bringing with you when you

100k. 1 Ceramicist and writer Edmund De Waal has linked the time required to make something and the

time it takes to see something as two parts of the same adivity.2

To experience the long look you need to find yourself in an exhibition that is engaging to you and

that has some layers to it. I found one of these in a small exhibition by Robyn Phelan in the Mailbox

141 space in the foyer of an historic textiles building in Flinders Lane, Melbourne. The allocated space

consists of 19 glass-fronted timber mailboxes of the kind where letters were slipped by hand into a

slot in the top of the box. Robyn made 17 hand-shaped porcelain forms that each bore the name of a

woman, a mountain she had climbed, and the date of the climb. The exhibition, Ain't No Mountain


View II

High Enough - Milestones for Two Centuries of Women Climbers, was based on research Robyn

did in the State Library of Victoria using the Vic Spitzer collection of rare books on mountaineering that

included a book on women climbers. Robyn's exhibition notes contained a list of the mountaineering

achievements of 15 of these remarkable women who took the cause for women's equality to the

mountain 3

Previously Robyn had developed an interest in the presence of mountains during summer holidays

spent in alpine Victoria. She felt that nearby mountains and their commanding views encouraged

reflection, particularly on our relationship with nature. The subject gained another thread following a

residency in 2008 in China at the Jingdezhen Pottery Workshop and Experimental Sculpture Factory. In

China there is an ancient tradition of landscape painting that includes mythologies about the spirituality

of mountains, and exploration of the complexity of depiction and looking. Traditional Chinese artists

have reflected that reducing the mountain silhouette to a small scale to depict it means sacrificing detail

but can bring the eye and the spirit together in appreciation of the landscape's attributes 4 In the 15

days of Robyn's residency, her daily view was the silhouette of the nearby Pan Long mountain range.

The pinched forms she made in Jingdezhen, when placed all together, depicted the outline of Pan

Long. Nearby, is Mount Gaolin, the now exhausted source of the kaolin that is an important mineral in

Robyn Phelan, Ain't No M ountain High Enough - M ilestones for Two Centuries of Women Climbers, 2012

Southern Ice Porcelain. cobalt oxide, h.46cm, w.Z86cm, d.14cm; photo: Christopher Sanders

View II

Jingdezhen's pure white porcelain. From this experience comes the Depleted series where cobalt glaze

bleeds from mountain forms. Mountain ranges had become a green screen for the little histories Robyn

discovered as she pondered their silhouettes.

When you stepped forward to look at the forms for Ain't No Mountain High Enough in the

glass-fronted mailboxes, you examined each of them, noting the name of the climber and possibly

checking their achievement in the notes before moving on to the next box. Edmund De Waal uses

vitrines in some of his installation pieces and has observed that "objects behind glass are suspended

from their everyday life" .s It is an effect that brings the viewer back to the world of the objects, rather

than bringing the artwork into the present. The arrangement of the Mailbox 141 displays demand that

the viewer take in the collective effect of the multiple cases before moving in for a closer look at each

box. It is a structure that works well for the story that Robyn tells of the individual achievements of

the mountaineers and the collective impact of their effort on the status of women. Robyn notes what

the climber Louise Shepherd refers to as "equality on the rock" 6 The choice of porcelain for the forms

recalls the domesticity of fine china but it is presented in Robyn's work without prettiness but with

the solidity of something worked and built by hand. The subject of mountains and the activities they

engender partner well with the solid ceramic forms of Robyn's work.


Robyn Phelan

Depleted Series. 2010

Southern Ice paperd ay

cobalt glaze. tallest h.36cm

Photo: Christopher Sanders

Robyn has employed the peculiarities of the exhibition space to cultivate the viewer's interest in the

historical inspiration for these tactile objects. The amorphous shapes have great individual character but

can be clustered to form another vista and a story worthy of a 'long look'.

Roisin O'Dwyer is an artist and the Editor of INSITE, the magazine for Victorian members of

Museums Australia.

Ain't No Mountain High Enough - Milestones for Two Centuries of Women Climbers was

at Mailbox 141 in October 2012. Robyn's work was included in the Tooth and Nail touring

exhibition at Bundoora Homestead Art Centre, 3 May - 28 June 2013. The work will also be

shown at Wangaratta Exhibitions Gallery, 24 August - 22 September 2013.

1 NaomI Cass, I'm Not an Authority on Art: An Exhibition of Work by Elizabeth Newman, (fly Gallery, May 1990. Naomi (ass is Director of

the Centre for Contemporary Photography, Melbourne and a curatcx and writer.

2 Edmund De Waal. Time on His Hands. The World of Interiors, November 2012, p200

3 The soundtrack to this must surely be: ~ Now, lord, don't move my mountain. but give me the strength to climb. And, lord, don't take away my

stumblJng blocks. but lead me all around. ~ Mahalia Jackson, Lord Don't' Move the Mountain

4 The SIgnificance of landscape, Tsung Ping (37 5-443) In Early Chinese Texts on Painting, Susan Bush & Hs,io-yen Shih, 1985

5 Edmund De Waal, TIme on HIs Hands, The World of Interiors, November 2012, p200

6 louise Shepherd quoted in the exhibition notes fOf Ain't No Mountain High Enough from an Interview at \WvW.chock5tone.ol9"intervieW'Sl



View III

The Art of Small Things

Jasmin Dessmann discusses collective identity in the work of Sarah O'Sullivan

Anyone who has ever begun life freshly in a foreign land w ill understand the general alien sensibility

and prickle of possibility that comes from unfamiliar beginnings. The differences between the familiar

and the foreign become distindive. It is often the small inconsequent things in these instances which

have the greatest impad; that remind us that we are not home, intrigue imagination and trigger fond

memory. Small things, both objeds and symbols, are inherent in our understanding of our past and our


This notion is explored in the work of Sydney ceramicist Sarah O'Sullivan. For O'Sullivan the power

and sentiment recall that objeds, textures, and symbols can inspire in the human imagination are linked

to an incarnate ability for us to recognise place and home. O'Sull ivan's practice begins as a colledor,

scouring detritus in native landscapes, street refuse, field trips, or the second-hand clutter of charity


In her collection of sticks, bones, teaspoons, glass vessels, nests, key racks and silver trinkets - objeds

whose purpose or socia l interest is obsolete - are gathered as scrutineered findings of a persistent

surveyor. Each different and unrelated, the objeds O'Sullivan collects have presented themselves with

the possibility of being a vessel for concealed memory. Noted as a human imperative by the artist,

the act of collecting in O'Sullivan's work, however, seems embedded more fervently in instindive

and animalistic tendencies, like the resourceful and intrepid undertakings of the bowerbird enading

habitudinal behaviour of seeking, gleaning and adorning.

In her appropriated work, such as Jam and Cream , O'Sullivan reconstructs lost parts in a metal

holder of an old tea set. A single item, removed from its original set, the objed is renewed yet remains

dislocated from fundion by the lacerated patterning added by the artist. Instead we are asked to regard

Sarah O'Sullivan, Jam and Cream, 2010, slipcast and handcut porcela in with found metal stand, h.24cm. w. 17cm, d.12cm

Photo: Maree Alexander


View III

the simple beauty of the objects, the contrast of material form, and the over-arching intent of the

object's creation back in its time, and now. We are reminded of its early context - the early shoestring

functions of pioneer kitchens and the ardent tenacity that inherent English tea drinking cultures


In other works such as Remnants, O'Sullivan references other moments in Australian history, using a

found wooden teaspoon holder in the shape of Australia, an object with overt associations to Australian

kitsch, and also commemorative teaspoons. The artist draws on these links. Her reconstructed teaspoons

are themselves delicate with the added fragile and intriguing imagery of twisted birds' claws . With a

telling title, the work is taxonomic in its construction and intent.

1 Sarah O'Sullivan, Remnants, 2011 , slipcast and hand-painted porcelain with

found timber frame; photo: Maree Alexander

2 Sarah O'Sullivan, Installation, left to right: Verdant, Banksia Series I,

Kangaroo Paw Series I, carved sta ined porcelain; h.l8cm; photo: Debbie Gallulo

This interest for O'Sullivan,

of the emblems of the

Australian pathology and our

connection to environment,

owes much to the legacy

of major Australian artist

Margaret Preston who held

critical interest in Aboriginal

culture in her search for

the true motif of the

Australian identity. Preston

was one of the first major

spokespeople for the value

of Aboriginal culture, and in

so doing committed herself

temerariously to rearranging

the accepted notions of what

constituted essential symbols

of Australian nationhood

between the wars.

Like Preston, O'Sullivan

developed an appreciation

for the cultural legacy

and current contexts of

Aboriginal communities

and culture, an interest she

cemented and deepened

in 2011 with an internship

and research venture to

Haasts Bluff in central

Australia. Preston's interest

in everyday life as a subject

for art is similarly apparent

in O'Sullivan's attraction to the small details of her surrounding environment. However, unlike the

heroic and bold intentions of Preston to reforge a national identity in the schema of a new and modern

Australia, O'Sullivan's treatment of objects is instead reverent, sensitive and modest. Her delicate casting

of intricate objects (such as sticks, bones and handles) and her layering and patterning in glazes, all

speak of the beauty of small overlooked details in the world around us. In this, O'Sullivan extends


Above and below: Sarah O'Sullivan, Surv;v;ng Trace, 2012, slipcast and hand carved stained porcelain with found frame

diam.12cm; photo: Maree Alexander

her interest beyond man-made objects and domestic refuse to symbols and patterns in the natural


In her works When it's not as yesterday was and Exposed Range, this interest in the natural

environment and patterns in life cycles, such as erosion and water movement, is beautifully manipulated

and visible in the artist 's use of tectonic patterning. Likewise, her series Surviving Trace, of cast and

handworked coral-like growth patterns in found frames, presents delicate snapshots of textures in the

natural world. Presented as a catalogued display, as from a cabinet of curiosities, these framed portions

of fractal patterning remind us that life cycles in the environment are swift and have occurred for

millennia. In this way O'Sullivan's work speaks broadly about the mortality of living things and also of

the immortal resonance of memory that the familiarity of patterns, symbols and objects can reflect.

O'Sullivan's work draws together many divergent influences but also brings about questions of how

things formerly known as decorative, scientific, natural, ethnographic, artistic, domestic or mechanical

come together to form new synergies and associated linkages. It also shows us that common history

and cognitive associations run deep. It is intuitive, resonant and inherent in our ancestral ties and

relationship to objects and symbols that surround us. O'Sullivan's work is a simple but beautiful gesture

to the magnetic power of place and its influence on perceptions of identity.

The exhibition, Arboretum will be at Sabbia Gallery, Paddington NSW from 3-27 July 2013.

www.sarahosullivan.com.au; www.sabbiagallery.com

Jasmin Dessmann is an arts administrator, artist and freelance writer from Sydney. She is

currently Gallery Programs and Touring Exhibitions Officer at Museums & Galleries NSW and

worked in exhibition research as Curatorial Assistant for the Sydney moderns exhibition at the

Art Gallery of NSW.

Community I

The Central Coast Potters

Society Celebrates its 45th


Kylie Rose McLean looks at the plans for an exciting future


Central Coast Potters Society -

creativity and community

unity in diversity. A creative matrix of concepts, practical

Val Hill, member since 2011

Much clay has passed through many hands since the Central Coast Potters Society (CCPS) was born on

the Australia Day weekend in 1968. Local potters Harry Arnall, Kitty Orvad, Joan Matthews, and Roger

and Margaret Keane advertised a public meeting to form a potters' society.

Building on a legacy of hard work and dedication, 2013 brings us to the continued use of our purposebuilt

building at 111 0 Russell Drysdale Street, East Gosford (opened in 1980 after an eight-year fight and

much fundraising). The upgraded workshop now provides wheelchair access and disabled toilet facilities,

kilns, wheels, a library, a significant ceramics collection, a kitchen, and substantial workshop space for

our members including an outdoor area for raku and pit firings.

(CPS founding

members, 1968

Left 10 fight:

Roger Keane

Joan Matthews

Margaret Keane

Harry Arnall


Community I

Opening of the CCPS

work,hop, 1980

Helen Fraser, Secretary

and Max Avery, President

Plaque by Jim and

Jean Tyler.

Judy Barrett in the

CCPS work,hop

May 1982

Recently we gave our newsletter a facelift and with our new website we now reach a larger audience.

Our adult and children 's classes are full; our annual September Open Day offers an insight into raku and

pit firings; and we present members' work and engage with the public through our CCPS exhibitions

and sales held twice a year. We continue to carry out community group firings and are planning events

to involve residents of the Central Coast.

So far in 2013 our rigorous workshop program has included Keiko Matsui, Paul Davis and Jacqueline

Clayton, Cameron W illiams and Kwirak Choung. Our gold mine of resources also includes members

who have been involved in ceramics for 50 years and continue to practise their skills and share their

knowledge. We recently participated in Clay on Display at the Sydney Royal Easter Show; some members

visited Clay Push in Gulgong; we held our May exhibition ##East West Tea Drinking Traditions## that

included a Japanese Tea Ceremony demonstration; and many sipped tea at our 45th anniversary

Tea Party. We are certainly fulfilling our objectives - to increase the knowledge, experience and skill

of members and students in the art and craft of pottery, and promote a greater appreciation and

understanding of pottery by the general public.

A rekindled public interest in ceramics has resulted in a steady increase of members, bringing w ith them

new skills, ideas and experience, and a desire to reintroduce many of the previous activities conducted

by CC PS, including trips to exhibitions and other pottery groups, and longer workshops.

Our committee of volunteers is organised, enthusiastic, determined, creative, passionate and dedicated.


Community I

1 Sharon Ridsdale

2 Dawn Perry

3 Ingrid Tristram

4 Lynn Treers

5 Jean Miller




At monthly meetings we discuss and resolve issues as a team, sometimes with heated debate. We

draw on the wide range of well-honed professional skills outside ceramics to inform and develop our

adivities. Sponsorship from local businesses is also helping build our future. Working together is key to

achieving what we do.

The difficult question, which faces our group and many volunteer organisations, is how to encourage

new members and involve younger people in voluntary roles . Volunteer organisations provide valuable

services to communities and without them we would be at a loss. How do we harness the vitality and

ideas, enthusiasm and interest of younger generations? We know these questions will strike a chord

with many people in different groups.

During the OSCAS weekend in August we're incorporating a celebration for International Youth

Day on Sunday 18th. Alongside our ventures into social media, this is part of reaching out to the next



Community I

Current members are

benefitting from the bravery

and enthusiasm of founding

members such as Marienne

Stollery (our current president

who joined in 1974), one

of the life forces behind the

success and resilience of CCPS.

CCPS plays an enormous

role in my life and has

for nearly 40 years. In spite

of tight economic times we

continue to power ahead

Kylie Rose McLean

with sell-out workshops, three

adult and two children's classes, and kiln operation lessons. Our wonderful workshop is constantly

in use. We certainly don't lack enthusiasm and interest in learning more about ceramics. Our current

challenge is growing our society into the future. With the shift away from handcrafted domestic

ware, and the world of ceramics encompassing a greater variety of work and techniques, one of our

ongoing goals is to encourage the public to invest in quality, locally made, handcrafted pottery. It

goes without saying that we should practise what we preach, using handcrafted pieces in our daily

lives. Encouragingly, appreciation for these pieces was evident from sales at our East West exhibition in

May. We know how fulfilling and enriching having our hands in clay can be. We need to pass this on to

the younger generations.

CCPS will continue to be brave and develop innovative ways of maintaining a love of clay within

the community of the Central Coast of NSW. Join us and show our communities how wonderful it is

to belong to a dynamic organisation, particularly one that offers a creative outlet to balance this crazy


CCPS diary dates for the remainder of 2013:

3 August: Vicki Grima, Pinch Pots and Beyond workshop

17 8. 18 August: OSCAS Open Studio weekend

18 August: International Youth Day Celebration

31 August - 1 September: CCPS Wagstaff Sale Day

7 September: CCPS Open Day

12 October: Simone Fraser demonstration

28 November - 12 December: CCPS Christmas Exhibition

Central Coast Potters Society

1/10 Russell Drysdale Street, East Gosford

POBox 4043, East Gosford NSW 2250

T: 02 4324 5343

E: info@ccpotters.org



Community II


Karen Weiss reports on Clay on Display

The Sydney Royal Easter Show, where the country meets the city, showcases cows and sheep shearing,

chickens, ducks and geese, cats and dogs all glammed up, akubras and flannel shirts, and, in the midst

of it all, in the Arts and Crafts Pavilion - the Feature Display Area (FDA) 2013 - Clay on Displayl

An enormous illuminated three-tiered display area (over 40 sq m), crowned with the Clay on Display

banner, provided the background for a striking permanent display and areas for the many groups and

TAFEs involved to exhibit their work - work which showed the high standard of Australian ceramics. A

lively and appreciative crowd of Show visitors were drawn to the many handbuilding, decorating and

throwing demonstrations - notably Jon Curnoe's exploding pots, Sue Buckle's giant dragon and some

beautiful throwing.

The Ceramics Study Group's large TV screen showed ceramics DVDs throughout the Show. Fourteen

NSW pottery/ceramics groups, three TAFEs, two suppliers and numerous individual ceramicists rostered

on, courageously arriving at 7.30 am and working through till 5 pm, demonstrating and answering

many questions of visitors from Sydney and regional NSW, chief amongst which was, "Where can I do

classes?" . Hundreds of brochures and flyers for NSW potters/ceramics groups and TAFEs were handed

out, and kilos of clay were moulded into menageries of animals by eager children.

Adjacent was the exhibition of ceramic work entered in the Sydney Royal Easter Show competitions

with blue, red and white ribbons proudly displayed on the winning entries. Rebecca Casamento,

Coordinator of the Royal Agricultural Society (RAS), was happy to report an increase of 70% in entries

over the previous year.

Top: RAS Ceramics Display

Right Sue Buckle and her giant ceramic dragon



At a time when the NSW government has w ithdrawn funding for Fine Arts courses at NSW TAFEs, the

role of NSW pottery/ceramics groups has become essential in teaching skills and providing support for

NSW ceramicists, so the opportunity provided by Clay on Display was extremely timely.

Altogether the FDA was a success for all involved, promoting and attracting new audiences to

ceramics, drawing attention to the many ceramics/pottery groups throughout NSW, and exhibiting some

outstanding work by NSW ceramicists.

Our thanks to Rebecca Casamento for her outstanding support of Clay on Display, and the RAS

Committee for providing the opportunity to use the FDA to showcase Ceramics in 20 13. Many thanks

to John Hawthorn from Blackwattle Pottery for generously providing Blackwattle clay, and to Andrew

Burgess of NSW Pottery Supplies for his support.

Our thanks to the following groups who participated in Clay on Display - Parramatta Clay and Arts

Inc, Bathurst Potters Inc, Port Hacking Potters Group, Inner City Clayworkers Gallery, Central Coast

Potters Society, The ClayHouse, Coastal Claymakers Inc, Macquarie Hills Potters, Glen Innes Pottery

Club, Nepean Potters Society Inc, Scone Ceramic Group, Newcast le Studio Potters, Ceramic Study Group

Inc., St George Studio Potters, staff and students of the Ceramic Design Studio, Gymea TAFE, Northern

Beaches TAFE Ceramics Department, Hornsby TAFE Ceramics Department and 1 April volunteers.

My thanks to TACA , and to my fellow FDA subcommittee members Vicki Grima, Nicky Coady and

Kay Alliband without whose many hours of hard work Clay on Display w ould not have been possible.

© Karen Weiss 2013


Ceramic +


JOurnal 01 AUstralian ceramiCS.


I am writing to yOU wi\l1 an idea abOut ceramiCS and writing.

I waS chOpping the carrots one day in me kilene n , Ii.tening to

The science ShOW on ABC radio, where PhD science

candidates read their 'three minu1e theSis' .

Healing what peopte are doing and researching is interesting

and it got me thinking _ where was the opportunity lor this in

ceramiCS ... 1

A year ago I made the commitment to begin a PhD. Forming

the proposal and then getting me letter 01 acceptance was

almost o.erwhetming. once I \)6gan, my eyes dried and the

task \)6fore me scru b

\)6d any romantiC notion I held of study

and being part of a huge unNersity. The reality is, ii's hard wor\


Studio Safety Part 1

by JeffZamek

Working in a safe studio is essentially a matter of common sense and good housekeeping habits. There

has been over 50 years of anecdotal information from potters attesting to the relative safety of working

with ceramics materials. Significantly, ceramics teachers at various grade levels through graduate school

have reported on the relative safety of the materials. Only recently has that empirical knowledge been

reinforced by a study, The Potter's Health & Safety Questionnaire, sponsored by The National Council on

Education for the Ceramics Arts (NCECA).

Common Ceramics Studio Hazards

Statistically, the four most likely health hazards potters face are back pain, carpal tunnel syndrome,

and cuts and burns. These issues were documen ted in The Potter's Health and Safety Questionnaire'.

Responding to the survey were potters at different experience levels, ceramics professors and personnel

manufacturing ceramic products.

Back Injury

At some point potters will experience intermittent or constant back pain, which can develop from

incorrectly lifting heavy items such as clay, (1/2 cuff! [14litresJ of moist clay weighs about 50 Ibs [22kgsJ)

kiln shelves, raw materials and assorted pottery equipment. Potters are constantly lifting heavy boxes of

finished pots or large sculpture pieces. Bending over when working on the potters wheel and exerting

pressure to centre clay is another sou rce of back and shoulder pain.

Kiln shelves are heavy and cumbersome. When bending over to load a kiln, excessive strain can be

placed on the lower back, so bear in mind that lifting any heavy object with your legs can prevent back


Far Left: Incorrectly lifting a shelf

Left: Correctly lifting a shelf - note

straight back and bent knees




Carpal Tunnel Syndrome

Another common ailment affecting potters is carpal tunnel syndrome, or repetitive motion injury. An

activity repeated constantly over time can cause nerve damage. There are activities when working with

clay - wedging, centreing on the wheel, or just painting a design on a pot - that can cause damage to

the carpal tunnel nerve located in the wrist.

Wedging Table Height

The height of the wedging table should enable the potter to bend over the moist clay using their upper

body weight and leverage, redUCing tension on the hands and arms.

Back and Hand Protection

The height of the wedging table is critical in eliminating back stress. The ideal height should be based

on the height of the potter. When standing next to the table, the hands should rest comfortably on

the tabletop. In this way, upper body leverage over the clay can do most of the wedging, relying less

on muscle power to move the clay. To prevent carpal tunnel syndrome reduce the number of repetitive

activities done at one time, such as wedging clay.

Back Protection

When throwing pots on the wheel, adjust the height of the seat so it is level with the wheel head. It will

then be easier to centre the clay as the potter can use upper body leverage when leaning over the clay.


Potters often reach into a hot kiln and either burn their hands on pots or the still-hot kiln shelves.

Pottery can be fairly warm to the touch but the kiln shelves, having greater thermal mass, remain hotter

longer, resulting in a source of burns on the undersides of forearms.

Clay wedging table



Cleaning a kiln shelf

Sharp edges on a fired piece


Fired glazes can have very sharp edges due to the irregular surface qualities of the clay underneath or

from cracked ware. It is not uncommon to get cut when unloading a kiln and not notice it until seeing

blood on the kiln shelves. The safe way to unload a glaze kiln is with a pair of gloves. Not only do they

protect the hands from any residual heat but the gloves also prevent glaze cuts on the hands.

Potters should protect their eyes from sharp pieces of kiln wash or glaze drips on the shelves by

wearing goggles and gloves. Glaze debris can be razor sharp and fly about the room when hit with a


Ceramics Studio Eye Protection

Working with clay is not an inherently dangerous endeavour, however the pottery studio contains a

few potentially hazardous situations that can easily be avoided by using the proper safety equipment. A

careful understanding of the principles involved in the making and firing of pots will reveal several areas

where eye protection is essential. Fortunately, special filter glasses and filtered face shields have been

developed for use in major manufacturing areas such as foundries, steel mills, glass production, metal

fabrication, and casting industries.

Infrared/Ultraviolet Eye Protection (IR and UV)

In the past 'glassblowers' ailment' was a common problem amongst people who worked with hot glass.

After years of unprotected high duration exposure, the cumulative effect caused cataracts to develop in

their eyes. Today, the cause of glassblowers' cataracts and the methods to prevent such damage have

made this condition a historical curiosity'

Infrared radiation cannot be seen as it is composed of wavelengths that are longer than visible light.

Ultraviolet radiation is also invisible, consisting of wavelengths shorter than visi ble light. Both types are

part of the electromagnetic spectrum with visible light being just one part of the entire spectrum. The

insidious characteristics of cumulative damage and the invisibility of exposure were two factors that led

the glassblowers into trouble over time. Simply stated, by using the proper glasses potters can avoid

potential long-term risk to their eyes.



Infrared/Ultraviolet Eye Protection Glasses

Green-shaded welding glasses range from numbers 1.2 to 16, with higher numbers offering greater

degrees of protection against the infrared light spectrum' At some point, a trade-off has to be made as

higher shade numbers offer greater degrees of protection, but viewing the pyrometric cones during the

firing becomes more difficult due to more light being blocked by the filter.

Cobalt blue #5 lenses are rated on a different scale and do not correspond to a green shade #5. While

this dual numbering system might be confusing overall, the cobalt blue #5 glasses have an advantage

over #5 green-shaded welding glasses as they filter out more of the infrared light spectrum, imparting a

somewhat higher degree of eye protection. The important point is that cobalt blue #5 glasses offer eye

protection up to 1480°C, well above the firing temperatures reached by most potters. This type of lens

also meets or exceeds several industry standards for eye protection occurring in infrared and ultraviolet

light conditions' When looking into the kiln it can be harder to see the pyrometric cones during the

firing as compared with welders green-shaded glasses' There are however a few procedures to obtain

better cone viewing while wearing the glasses'

The effects of infrared and ultraviolet light damage to the eyes are cumulative. Glassblowers were

required to stare into a hot glass tank every day over a period of years. The process of firing a pottery

kiln contains the same elements of exposure to invisible radiation, but the duration of each exposure and

cumulative rates of exposure are less. Potters only look into a firing kiln for seconds at a time; however

they should protect themselves from infrared and ultraviolet radiation regardless of the duration.

Guidelines for Using Infrared/Ultraviolet Eye Protection Glasses

• Keep glasses clean and in a safe, easily accessible place.

• Do not scratch lenses.

• Always wear glasses when looking into a firing bisque or glaze kiln.

• Keep a safe distance from the cone-viewing hole when using glasses.

• Do not use regular sunglasses as they do not offer safe levels of protection against infrared and

ultraviolet light.

• Wear infrared/ultraviolet eye protection when welding is required to build or repair a kiln.



Basic Safety Equipment

Basic safety equipment for the studio potter: high temperat ure gloves (non-asbestos), ki ln viewing

goggles, filter type respirator, particle facemask.

1 The Polter's Health & Safety QuestIOnnaire, a survey of potters conducted at the 2000 National Coundl on Education for the Ceramics Arts

(NCECA). published In Safety in the CeramICs Studio, by Jeff Zamek .

2 Information on glassblowers' cataracts supplied by B. Ralph Chou, 'Optical Filters and Radiation ProtectIOn', published in Eye InjUry Prevention m

Industry. Second Edition, Edited by Edward McRace & Myrna Grimm, June. 1994.

3 Eye InjUry Prevenrlon m Industry, Second EdltfOO. Edited by Edward McRace & Myrna Gnmm, June, 19994, Table 3, rr3nsml5510n SpeCifICation for

Filters, page 22.

4 Cobalt Blue #5 Model MR 9140 glasses meet the standards for ANSI ZS7 1- 1989 Standard ANSI (American National Standards Institute),

II West 42nd Stre€1. New York, NY 10036,212.642.4980, WWlNansi .org.

ASTM (Amencan Society for Testing and Materials), 100 Sari Harbor Dr., West Conshohocken, PA 19428 * 2959. 610832.9500, fax 610.832 .9555.

W'MY.astm.org Besides the ANSI requirements another standard for Infrared/ultraviolet eye protection IS available from ASTM . For example. ASTM

standards require MDark*shaded glasses from a safely supply house (shade number 1. 7 to 3.0) are recommended when 100l(ln9 into a kiln's

peepholes .... M From the 1999 Annual Book of ASTM Standards, Vol 15.02, Designation: C 1023 SectIOn X2 .41, page 321 .

CSA (Canadian Standards Association). 178 Rex Dale Boulevard, 80 B COKE, M9W1R3, Ontario, Canada. 416.247. 4000. 800463.6727,

WIIM'.csa.ca/abouCcsalindex.....loca .html .

5 Cobalt blue #5 glasses are rated at 0.2% VLT (visual light transmission) while green~shaded #5 welders glasses are rated at 2% VlT. The lower the

VlT percentage. the less visible light can be !teen Ihrough the glasses

6 Since the Cobalt Blue #5 Model 9140 glasses are a darker shade than most kiln viewing glasses. the pyrometIic cones are harder to see during

the firing. When loading the kiln. paint a wash of flint and water on a bffck. Place lhe brick behind the pyromelric cones, and durtng the firing the

white background will offer a contrast to the cones.

Another method to observe pyrometrk cones dunng a kiln firing IS to carefulty remove the cone-viewing plug and blow into the hole from a safe

distance. For a fe

Up the MB path

Byte me!

Elisa Bartels unravels the mysteries of editing and sending images

There is no getting away from the fact that in this digital era the image rules. We submit images for

competitions, grant applications and magazine articles, and to stockists and art directories; the list

goes on. A great image can propel you to the 'front of the queue' and, sadly, a poor image will see a

beautiful piece of work relegated to the rear.

Once it was simpler: you took a photo, used the negatives to make additional prints or slides (aahh

remember slides ...) and these were dutifully mailed off to whatever organisation you were looking to

for attention. Fast forward to the present ... and whilst taking a great image has never been easier, the

stumbling block arises when we have to send these digital images via the net, by disc, or upload to a

file-sharing site.

So let's wander up the image path scattered with words such as JPG, 'raw' files, TIFF, DPI, PPI, MB, KB

and GB.

Your Camera

Refer to your camera manual for information on image size and image quality. The most common

setting chosen for image size would be 'large' and for image quality, 'JPG fine' or 'JPG normal'. A

large JPG file will give you a good size image for most purposes. A jpg is a compressed file achieved by

dividing the picture into tiny pixels, or dots of colour. These dot/pixel blocks are measured per inch and

that's where the acronyms dpi (dots per inch) and ppi (pixels per inch) come in. These blocks are halved

over and over until the desired amount of compression is achieved. The term DPI is used when printing

an image, but PPI is the more correct term and is used when referring to the number of pixels per

square inch in an electronic image.

A raw file is different to a JPG file in that there is no compression of pixels. It will be a large file, so

fewer images can be taken and saved on your camera. If you camera is set to 'raw', it captures every

single colour variation in the image and each is given its own pixel. Because of the large file size, raw

image capture is mainly used for taking photos of objects in a studio for immediate download to your


TIFF image capture is rarely an option in digital cameras. A TIFF file is usually encountered as an option

for saving an image in photo imaging programs such as Photoshop. A TIFF file saves the changes you

make to the image. TIFF files can be compressed but the file size still tends to be much bigger than a

JPG. The TIFF format is often the preferred format for storing post-processed images on a computer. Do

not email TIFF files as they are usually way to big to send. The best way to share a TIFF file is via a filesharing



Up the MB path

Your Computer

So you've taken these great images (either JPG or raw) and you've downloaded them onto your

computer. Of importance now is the image size and resolution. You cannot add pixels to an image you

have taken. When you enlarge an image you are making the pixels bigger not multiplying them. This

can cause the image to become blurry (pixelated) when you try to enlarge it beyond 100%.

Resolution relates to the clarity and crispness of the image and you want to have the best resolution

for the medium in which your images w ill be displayed. A computer screen is backlit, making images

appear crisper. A piece of paper is duller, which means that an image has to have a higher resolution to

achieve the same look as on screen . Therefore the suggested resolution for a screen image is 72 PPI, and

300 PPI for a printed image.

There are many different photo-editing programs (eg . Photos hop). To resize your jpg images, go to

'image size' and look for Pixel Dimension, Document Size or Image Size. Pixel Dimension tells us how

many pixels are in the image and the Document Size tells us the size of the printed image based on the

chosen resolution.

You then need to alter the resolution depending on your needs. Notice how the height and width

pixels change depending on the level of resolution required. Also be sure to look at the actual size of

the image in centimetres.

Sharing Your Image

Most requests for an image of your work will dictate the required image size . For The Journal of

Australian Ceramics we require images to be high resolution JPG (300 DP!); approx. size 220 x 150

mm. This size image file can be emailed or shared via Dropbox or youSENDit. Do not email TIFF files as

they are uncompressed files and tend to be a lot larger than JPG files.

Files size is measured in 'bytes'. For our purposes let's keep this simple by illustrating this

measurement from smallest to largest.

1 kilobyte (KB) = 1024 bytes (tiny)

1 megabyte (MB) = 1024 KB (big)

1 gigabyte (GB) = 1024 MB (massive)

An image suitable for online use is usually a smaller file because of its lower resolution (72 PPI);

an image for printing is larger (300 PPO.


Up the MB path

300 ppi 72 ppi


The above photo measures 10cm x 7. Scm @ 300 PPI = 886 pixels (height) x 1181 pixels (width) and is

2.99 MS.

A web image of the same metric size but with a resolution of 72ppi = 213 pixels (height) x 283 pixels

(width) is 176.6 KS.

Make sure you save your image to the resolution required by the recipient of that image. Then, if

sending by email, check your email settings do NOT reduce the image once attached to send .

File-sharing Sites

File sharing is the practice of providing access to digitally stored information, such as audio, images,

video and documents on a server. Two file-sharing sites we use at The Journal of Australian Ceramics

are youSENDit and Dropbox.

You can upload your files to the server and then send a link to the recipient so they can access the

files . This has the dual benefit of large files not clogging up the recipient's mailbox (never a great way

to introduce yourself and your work) while also allowing the storage of files in one site ready for repeat

viewings by different people.

Taking and sending images is a vital part of all artistic endeavours. If you are interested in learning

more, t here are numerous sites that have more in-depth information.


http://astridwehlinggraphicdesign.typepad.com/notes/2013/02lof-smali-and-big-things.htm I



Elisa Bartels is a ceramicist, writer and dreamer.




Naked Raku

Paul Gennings reports on a Tim Andrews workshop in Hungary

Fifteen-and-a-half-thousand kilometres away from Melbourne is a small town in Hungary called

Kecskemet, and here is Europe's oldest year-round international ceramic residency, the International

Ceramics Studio (lC5). Established in 1975, the ICS offers master classes and residencies to ceramic

artists from all over the world. It was to this setting that I came to attend a six-day Naked Raku master

class led by English studio potter Tim Andrews.

Naked Raku is a form of firing where a release slip is applied to burnished bisque ware and raku

crackle glaze is applied on top of the slip. The ware is fired to approximately 820°C, then removed and

placed in a smoking bin where the smoke only penetrates the unglazed areas, including any crackle .

When the ware is taken from the smoking bin, the glaze is peeled away and the slip that had been

protected by the glaze is then revealed, hence the name 'Naked Raku'. From its humble beginnings as a

happy mistake, Naked Raku has now developed into a complex way of producing astonishing pieces of

all shapes and sizes.

Participants from Taiwan, Austria and Poland also attended. The first three days were dedicated to

making and burnishing, although on the first afternoon of the workshop we had the opportunity to

learn about Tim's process by firing some of the bisqued pieces we had brought along.


Our raku kiln was a small portable two-burner fibre barrel kiln . Smoking bins were prepared by

placing sawdust in the bottom of each bin to cradle the ware . The kiln lid was lifted up and away and

the ware removed red hot from the kiln w ith tongs. Unli ke traditional raku, the pots are allowed to

cool in the air allowing the glaze to crackle, a crucial part of the process. Tim explained that he liked to

hear the start of a pinging noise, at which point the pot is placed in the smoking bin and immediately

covered with sawdust. After the ware smoked in the bins for approximately fifteen minutes, it was

removed and spritzed gently with water, after which the glaze popped off quite easily to reveal the

decoration that had been left behind during the smoking process.

The firings went well with improving results, although early on I was quite disappointed w ith my pots.

They were muddy with smoke bleeding into places I did not want it to be, so when I glazed the pieces

that had been brought from Australia, I tried a different tack. I tried to be less random with making my

marks, taking more care placing the tape .

With any ceramic work, all parts of the process play an equally important role, and so with naked

raku; the form, the burnishing, the slip and glaze application were all considered carefully.

As the workshop progressed we tried variations on smoking, such as misting the piece with water to

bring on more crackle, using different materials in the smoking, and blowing air on the piece to localise

the crackle effect. On the final day all the work was gathered and results were discussed - why one

piece was different from another and what we thought we would take away from the workshop. For

me, a complete immersion into the world of ceramics for six days revitalised my creative process. Since

returning, this experience has stayed with me and I am sure it will enrich my own practice.

www.icshu.org; www.timandrewsceramics.co.uk


Handle Your Ceramics!


Photographer: Paco Orti, Paco Orti, Valencia Spain, May 2013

The challenge to photographers was to take a photo of the HANDLE on their

latest cup or one of their work being HANDLED. It was open to their interpretation.

The competition was judged by the recipients of the 2013 Trudie Alfred Bequest Ceramic Scholarship.


Ceramic Shots

Photographer: Andrew Sikorski. Art Atelier Photography

Kate Ward. Canberra ACT. April 2013

Photographer: Joshua Morris. Katherine Wheeler

Marrickville. March 2013

Photographer: Helen Earl. Helen Earl

North Curl Curl Beach NSW. May 2013

Photographer: Perla Gerlic. Perla Gertie. Melbourne VIC

May 2013


Ceramic Shots

1 Photographer:

lUClile Nobleza

Yuri W;edenhofer

Gulgong NSW

May 2013

2 Photographer:

Colin Hopkins

Ilona Topolcsany;, Cone 11

Ceramics + Design Studio

Abbotsford VIC

March 2013


3 Photographer: Christopher Plumridge, Christopher Plumridge, Claystone Pottery

Highett VIC, April 2013

4 Photographer: Helen Martin, Helen Martin, 8rogo NSW, May 2013

5 Photographer: Julie Pennington, Julie Pennington, Bowral NSW, May 2013

6 Photographer: Jane Burbidge, Jane Burbidge, Echunga SA, March 2013

7 Photographer: Janet Selby, Janet Selby, Jannali, NSW, March 2013

8 Photographer: Patrick Tanner, Patrick Tanner, Cofts Harbour NSW, April 20 13

9 Photographer: Ivan Tanovic. Ivan Tanovic, Pozega Serbia, May 2013


10 Photographer: Tanya Bechara, Tanya Bechara, Sydney NSW, May 2013


Artist in Residence

Highly visible - a graduating

student's perspective on

the need for education and

widening skills base

A report by Anne Masters

After re-reading Karen Weiss', Highly Visible - Winning Strategies for Ceramics Departments', I

was keen to follow with an article from a graduating student's perspedive and reassess the need for

education at any stage to attrad young or mature professionals in the visual arts sector. This article will

outline the important role played by teaching staff beyond the point of graduation as illustrated by my

mentors and networking in two residencies - one local and one international.

Here I am in 2013, post-university with a Master of Visual Arts, at the beginning of what will

hopefully be a long career as a professional ceramic artist. Prior to attending the Australian National

University's School of Art (ANU SOA) Ceramics Workshop, I held various positions in local and federal

government, finishing as journal editor for the Australian Federal Police. Previously I had worked for

advertising agencies in Sydney and Canberra - heady days as I fulfilled client briefs that were not too

dissimilar to the consumer rat race glamorised in the American television series Mad Men. Today my

practice is supported by part-time administrative work at the ANU SOA.


In mid-2010, I commenced the full-time post-graduate study at the ANU SOA, which reinvigorated my

passion for making through the studio-based courses, and my love for writing and research through the

theoretical courses. The ANU offered a pathway that allowed me to re-enter the education system (at

the age of 43) and pursue a flexible visual arts course . The course provided important building blocks

of both theory and practice required by someone aspiring to be an educated and pradising artist.

Furthermore, it provided contacts and opportunities that would have been otherwise inaccessible.

Below: Canberra Potters Society Artist in Residence Studio; Anne and Zoe at glaze class at ANU SOA

Art ist in Residence

Partnerships and my first residency

On graduation I was awarded the first Canberra Potters' Society (C PS) artist in residence, a partnership

with the ANU 's Emerging Artist Support Scheme (EASS). Commencing in January 2012, this award

allowed me to extend my educational experience in a different studio environment with access to a

studio, kilns and a library, as well as engagement with the Society's members. The CPS, like many other

associations and groups around Australia, provides critical resources for graduating students who are

suddenly faced with the reality of no access to a studio or kiln . These organisations also partner with

educational institutions to share visiting artists from Australia and overseas. Both students and the

community are able to access workshops and classes conducted by these profeSSional artists. I rely on

these workshops for up-to-date information and skills sharing and this important activity ensures we

survive and prosper in the arts arena.

Continuing research and access to institutions

During this local residency my research relied on access to other libraries as well - the ANU 's Art and

Music Library, the National Archives of Australia, and the collection at the Australian National Botanic

Gardens in Canberra . I developed motifs to decorate new work and discovered a drawing by American

architect Marion Mahony Griffin, which later that year became the basis for my application for an

international residency.

Networking and outreach

Networking is a key tool artists should have in their toolbox. I cannot live without it as it has led me to

many opportunities that may never have happened otherwise.

After I completed the EASS residency I attended my first international ceramics conference in

April in Seattle - NCECA. I was one of 4500 delegates and was impressed 'the biggest category of

people attending were students' (according to the President of NCECA). I assisted Janet de Boos in

promoting the ANU 's graduate program to prospective students considering an education in Australia.

Attracting and retaining students (in Australia and beyond) is a challenge, especially when domestic and

international scholarships are becoming ever more competitive.

At this event I caught up with Amanda Small, a US visiting artist to the ANU Ceramic workshop

(2010). She provided valuable advice and a fresh perspective with my studio-based project at the

time. Through her, and my persistent networking, I met w ith the director of the International Ceramic

Research Center (lCRC), based in Denmark, who encouraged me to apply for one of their programs.

Below: NCECA, Seattle, 28-31 March 2012

Artist in Residence

In July, I was awarded an ICRC artist-in-residence for six weeks in January and February 2013. Staff

members at the SOA (a lecturer in ceramics and a printmaking technician) mentored me, taught me new

techniques, and provided resources to prepare for my residency. This opportunity occurred because of

my attendance at both the SOA and the international ceramics conference. A former teacher reinforced

my application with a referee's report. This mentor and the SOA have highly regarded reputations in the

international ceramics arena and this was a necessary component to the application. Their word carried


Keeping it cool

Fortunately for me, the ICRC residency coincided with Project Network, where 11 emerging artists from

around the world collaborated for six weeks to create work for an exhibition and promote the event.

The group started a Facebook page' and placed their invitation image as the timeline cover. For six

weeks, 24n, the page was buzzing with likes, comments, and shares, as photos were uploaded instantly

via mobile phones and the snappy text guided viewers through Project Network's progress. By the night

of the opening it had reached more than 4000 viewers around the world.

I actively networked in the village to encourage locals to attend and forged friendsh ips with patrons,

highlighting the exciting work being produced by emerging artists. I also wrote a blog about my

experience' as an AIR in a fairy story medieval town and my chatty style transported readers on a

virtual experience of what it was like to be an artist in action. Educational institutions and artist-based

organisations need to embrace socia l media and update their websites so their content and images are

cool, relevant and contemporary.

So, where to now, especial ly after being spoilt by a fine international ceramics centre whose country

places a much higher value on its artists and their economical and sustainable contributions to its


I have plans to move and set up a studio with my own kiln. I will continue to actively engage with

artist organisations in Canberra and ensure ceramic artists do not become isolated in their practice.

Below: International Ceramic Research Centre, Skaelskor, Denmark; Anne Masters


Anne Masters' studIO at the International Ceramic Research Centre. Skaelskor, Denmark

They need to keep connected, be educated, build their knowledge, develop good craft and design skills,

and become deeply involved in the continuation and sustainability of ceramic practice in Australia and



1 Karen Wel!.s, 'Highly Visible - Winning StrategIes for CeramICS Departments', The Journal of Australian CeramiCS, 5112. July 2012, pp.46-S1

2 Project Network 2013 Guldagergaard, http://WWWfacebook .comIProJectNetwork2013Guldagergaard7ref=hl (accessed 115/13)

3 Anne Masters CeramICs. My work. hupJlannemastersceramics,c0m!7p=70S, (accessed 115113)

The web pages of the inStitutions mentioned above.

C Anne Masters CeramiCS

Anne Masters (MVA) lives in Canberra and is setting up her new studio in the leafy inner

north. She has a blog/website. which captures her storytelling in a light-hearted way and

takes readers on a visual feast through travelling. the odd drawing or two and. of course.

her ups and downs as she makes ceramics. Her goal is to buy a slab roller and focus on small

production work as well as exhibition pieces. Her recent residency in Denmark can be checked

out at www.annemastersceramics.com under the travel tab.

Anne Masters' glazed works using

Danish higMow fire clays

1eRe director at the Project Network exhibition opening

Denmark, 7 february 2013; photos: artISt



I am Rachael . . Rachael McCallum.

I am artist.

I didn't just wake up one day and say "I am an

artist"; I was told I would be since I was very

small. Now that doesn't mean that I had to be

an artist. but it does mean it was a decision I was

predisposed to since my personal 'forever' began. I

was the grandchild who would make personalised

birthday and Christmas cards at every chance I

could with glue, cardboard and Textas. But I did

wake up one day and say that I would not let

anyone call my work 'craft' ... and this happened

fairly recently in the forever of my thinking.

Ceramics has this terrific tension between arV

craft hierarchies. It can be both if it feels like it.

Regardless, my decision came eaSily after I saw the

advertisement for a particular department store that

shall not be named selling their ceramic homeware

at a mere $2 for a mug. I don't want to compete

with that because even I am tempted by that

disposable offer. And if I were to make competing

functional objects they would spend most of

their life unused and sitting on a pretty shelf, as

protection, somewhere out of reach so as to justify

the exorbitant price I would put on such objects.

Now that just won't do!

If I make objects to be looked at, I had better

discard the idea of function altogether. And so,

what is pretty and looked at?


Rachaol McCallum

B(uo Dwarf, 2012

stoneware, 1280 0 (

h.43cm, w3 Scm. d.ll em

Not that I want to dis' on my painting amigos

and amigas, but paintings get all the attention.


Painting is more than just pretty, if it wants to be;

and so too can ceramic objects.

I make ceramic paintings. J search for a

decorative balance of dry and wet-looking surfaces,

colour and line compositions. Essentially, they are

forever-lasting abstract expressionist paintings.


Technically they are extended 'expressions'

because the clay surface is made before the glaze

surface and thus planning slows the expressive

process, but that isn 't the point anyway - I create

platforms and valleys for beautiful accidents.

Now you can't get that in painting on a flat


Ceramics last forever, longer than my life,

and in that sense it is a big decision to decide

what is worth making forever. SO ... now that

I have decided that I don't want to just be left

on the shelf, I had better go and make things

that display ceramics' beautiful accidents to the

world I


Rachael McCallum

Blood Diamond, 201 2

earthenware 1 100°

h.34cm, w .28cm, d.1Scm

Potters Marks

Potters Marks

Bronwyn Theobald

Jenny Orchard

Sarah O'Su llivan

Clare Urquhart

Pie Barberis (Bolton)

Marianne Hallberg

f t ~k

Frank Boyden Diana Fayt Krisaya l uenganantakul


Viewed and Read

Additions to Clay Bodies

by Kathleen Standen

Published by Bloomsbury ACAD & PR, May 2013

128 pages, paperback

ISBN 9781408153949


Now available at book shops

and online stores

Rice, dog biscuits, coffee beans, cereal grains, nuts, bark chippings, glass beads, pebbles, nails, perlite

and broken bits of pots ... " This is the opening to Kathleen Standen's publication Additions to Clay

Bodies, an introduction that makes one want to read on .

This is a resourceful book full of unique processes and practices, with a recurring theme of

experimentation. The chapters cover an extensive range of additions to clay including natural

combustible materials and man-made 'hard' materials, each creating individual surfaces and textures on

the fired piece. Many inspiring ceramicists who experiment w ith a wide selection of additional materials

to clay are showcased, with great images.

One ceramicist featured is the Danish artist Mette Maya Gregersen, who creates wave-like sculptural

forms. Gregersen manipulates bamboo blinds, binding them into the desired form then proceeds to

slowly coat the form in layers of paperclay slip which has additions of molochite, acrylic fibres, bentonite

and sand. The work is then glazed and multi-fired, the result having an ephemeral quality. The forms

have a lovely sense of lightness, which alludes to movement frozen in time.

Further interesting additions highlighted are mung beans sprouting in porcelain tiles, which, after

firing, leave subtle crevices and cavities. Other ceramicists incorporate w ire, recycled and crushed

crockery, chunks of feldspar, coloured clay fired then crushed creating coloured grog, cotton wool balls

dipped in slip and attached together ... and the list goes on.

A stand-out feature of this book for me is the encouragement to experiment, noting processes and

nuances, being observant, and building up unique surface treatments to call your own. Additions to

Clay Bodies is for anyone willing to experiment, and a great resource to add to the library; however,

some prior knowledge and understanding of clay processes and firings would be an advantage.

Review by Natalie Velthuyzen



Austra lia Wide


The weather might be cold but enthusiasm

for clay remains hot at Canberra Potters. The

Winter School is going ahead 22-26 July with

two outstanding tutors. Judy Pierce from Victoria

will lead five days of magic manipulation and

development to create functional and decorative

forms from solid and hollow extrusions. Ian

Jones from Gundaroo will lead five days of skill

development for the production of large works

on the wheel. Through August and September.

CPS' ever-popular core classes will continue

and there will also be a number of extension

and special interest classes. Cathy Franzi. who

recently returned from presenting a paper at the

International Ceramics Festival in Aberystwyth.

will present a challenging hands-on course.

Traditional Slipware; and there will also be a

series of single classes addressing various oftenneglected

potters skills.

See www.canberrapotters.com.au for details.

Throughout October. as part of the Canberra

Centenary celebrations. there will be a month of

events involving everything on or about wheels.

On 20 October. CPS will be joining Canberra

Spinners and Weavers to take part in SPIN. a

multi-sited event across the city. For full program

information go to www.canberral00.com.au/


Watson Arts Centre Gallery has a full ceramics

program through late winter. From 11 to 28

July it will present the annual EASS exhibition.

sponsored by Canberra Potters' Society and

featuring selected 2012 ceramics graduates

from the ANU Ceramics Workshop. The CPS

Annual Members Exhibition will take place from

13 to 20 September and. as always. will include

the selection for. and awarding of. the Doug

Alexander Memorial Award. Static Glimpses. an

exhibition of new work by Bridget Anderson and

Suzanne Oakman w ill be shown from 10 to 20


To all ACT clay workers opening their studios

for the OSCAS on 17 and 18 August. I w ish you

busy days and many visitors.

Cheers. Jane

E: janecrick@dodo.com.au


I was fortunate to get to Gulgong for one day

(looking at it from the perspective of a glass

half full) and even that was worth the four-anda-half-hour

trip. Looking at it from a glass half

empty. I certainly missed a lot. Gulgong has to be

the best meeting place for potters in Australia.

Candice Ward. an emerging ceramicist who

assisted the master potter Marianne Hallberg

from Sweden. told me very excitedly that it was

the best week of her life. We are all looking

forward to the next gathering. What we must

not forget is the enormous organisation that

goes into such an event. Congratulations to all

who helped to make it a super informative and

fun week. Janet Mansfield was very sadly missed.

Ane-Katrine von Bulow. from Denmark. came

back to Newcastle from Gulgong and gave

a wonderful half-day demonstration of her

meticulous technique of screen-printing onto


Ceramics at Newcastle TAFE is a non-event this

year. No mention has been made of its final

demise but sadly and predictably the student

numbers were just not there to go ahead.

Hopefully. this may change in the future.

There is a new clay shop in Newcastle. Clay and

Glaze. a very large space that is selling all things

ceramic as well as holding day and evening

classes. The classes have filled quickly and there

is a waiting list. This. along with some masterclasses.

may be how ceramics will survive at this

time in this region.

The winner of the Ceramics Section of the

Muswellbrook Art Prize this year was Vicki

Hamilton for her porcelain piece Hanging by a

Thread. a portrayal of the critically endangered

Black Rhinoceros . The prize was adjudicated by

Dr Leigh Summers of the Coffs Harbour Regional

Art Gallery. Vicki will present works depicting

the effects of human activities on endangered

animals for her Masters from the University of

Newcastle in July with an exhibition at Back to

Back Galleries in Newcastle.


Sue Stewart

E: sue@ceramicartist.com.au


Australia Wide

qld south east

Two kilns on, feet up, coffee, breakfast cereal

and yoghurt to hand . . time for my report!

The Gold Coast Potters Association had their 3rd

Art & Crafter's Market (the first of two for 2013)

on Sunday 5 May. Even through the exhaustion,

there is elation at having such a fantastic,

successful event on our site with almost 50

stall holders, demonstrations, music, woodfired

pizzas, sausage sizzle, cakes and sweets and

perfect weather. The stallholders already want

to book for the next one to be held on 24

November! For me a highlight was finally getting

to meet Katherine Mahoney of Sydney. This

charming lady donated bowls for our Empty bowl

Silent Auctions, and I made sure I successfully bid

on them each time!

The exhibition Ebb Tide, with work by Megan

Puis and Kathryn Mitchell, was opened on

Saturday 2 March by ceramicist Stephanie

Outridge Field; according to newsletter editor

June Cummings it was a meeting of the master

and the apprentice.

I, along with a few of my potter mates,

was disappointed we could not attend Clay

Push in Gulgong. But, to make up for our

disappointment we are having the famous (and

muddy?) Vicki Grima visit to judge our Members'

Exhibition in November, and, to conduct a

workshop. Very exciting!

There are more workshops also planned - Helen

Charles' large coil-built pots workshop in June

and a hands-on two day workshop with Malcolm

Greenwood in November. Shirley Battrick of

our Mudgeeraba studio will run a Printing on

Clay 6-hour workshop in August. Techniques

will include making your own transfers, using

commercial tissue transfers, lithography, use of

the Print Gocco machine, screen printing, decals

and overglaze decoration.

On 21 July, the exhibition The Rainbow

Collection will open at Clay Art Benowa Gallery,

followed by Living Pots on 8 September.

Spring Fever on the Sunshine Coast will be held

from 10 to 14 October. For more information,

email jackie-gasson@bigpond.com.

Happy potting,

Lynette Rogers

E: romeo-whisky@bigpond.com


The next few months are looking promising for

the SA ceramics community. On 30 June is the

return of Mug Day in the hills. Mug Day was

an annual tradition that sadly ended a while

ago. It was held at Aldgate Crafts where every

mug purchased was filled with soup or mulled

wine. Thanks to Alison Arnold and Rose Maguire

at Milan Rouge, Mug Day will return to the

hills showcasing the best of South Australia's

handmade ceramics and, hopefully, plenty of

mulled wine.

After the buzz early in the year of the Adelaide

Festival and Fringe Festival, we are back into

the festival mood with the SALA (SA Living

Artist) Festival, which runs from 2 to 25 August.

Ozmosis, at Milan Rouge Contemporary Craft

and Design, opens on Sunday 4 August from

1-4pm and runs for the entirety of SALA. The

exhibition will feature work by ceramic artists

Alison Arnold, Sally Baddams, Jane Burbidge,

Anna Couper, Rose Maguire and Angela Walford,

and will explore the theme of Australiana in a

contemporary context. Another event associated

with SALA is the Open Studio Weekend on

Saturday 10 and Sunday 11 August, in which

the recently founded 6 Hands Studio (run by

Stephanie James-Manttan, Alison Smiles and

myself, Sophia Phillips) will be participating. And

as part of the bike tour, five or so mixed media

studios in the western suburbs of Adelaide

- Fontanelle, George Street Studios, The Axe

House and Gate 8 - will also join in.

And last but not least, Gus Clutterbuck is jetting

off to Jingdezhen for a residency in June and July

at the Pottery Workshop funded by the Australia

Council. He will be concentrating on blue and

white decoration skills and developing a new

exhibition of work. Bon voyage Gus!

Anyone wishing to contribute news to the SA

report, please don't hesitate to contact me.

Sophia Phillips

E: sophia@nemex.com.au


Au stralia Wide


An April working bee with Tasmanian Ceramics

Association (TCA) members at Tim Holmes

property at Dunalley saw the careful taking apart

of his old wood kiln, ready to reassemble in

preparation for his keen return to woodfiring.

TCA's Annual Exhibit ion in May, Feat of Clay, at

the Rosny Schoolhouse Gallery, was a showcase

for a variety of interesting work. The Overall

Excellence Award (donated by Tony and Jan

Mitchell of Tasmanian Ceramic and Pottery

Supplies) went to Anna Williams for Equine

Group. The Highly Commended Award for

functional ceramics went to Joanna Lawton for

Old Man Dreaming, Looking Forward, and

Heather Kreet's Treasure Chest won the nonfunctional

award. Both awards were donated by

Derwent Ceramic Supplies.

In October, TCA will be holding a special

exhibition at the Moonah Art Centre in which

forty years of work made as demonstration

pieces in workshops by visiting international and

Australian potters will be featured.

A talk and demonstration with Jenny Orchard at

the Polytechn ic Ceramics Studio was organised

in May to coincide with her exhibition at Despard

Gallery. In August, Eve Howard's bird-making

workshop in the TCA studio will give members

the opportunity to participate in the workshop

Eve previously toured for Tasmanian Regional

Arts. We also look forward to a workshop later in

the year with Kirsten Coelho.

Members' exhibitions include Robin Roberts'

In the Detail with Jill Edwards and Bronwyn

Theobold at the Sidespace Gal lery; Anna

Williiams On the Brink at the Sidespace,

consisting of porcelain sculptures of Tasmanian

marsupials; and John Watson and Christine

Crisp's Stairway to Heaven at Rosny

Schoolhouse Gallery.

Zsolt Fa ludi and his partner Nanna Bayer are

exhibiting collaborative work in a large group

exhibition in Finland from May to September,

celebrating the 20th anniversary of Fiskars

Village. Off Centre, t he collective in Salamanca

Arts Centre, has welcomed a new partner in clay,

Lisa Britzman. When in Hobart check out the

newly revamped TMAG (Tasmanian Museum and

Art Gallery). There are some wonderful ceramics

in their collection! !

Jude Maisch

E: jude@judemaisch.com.au


I am delighted to write the Victoria-Wide

column after Glenn England's fabulous seven

years of bringing us the news. Many thanks for

her contribution. As I write this, autumn's long

shadows have been particularly chilly, predicting

a seriously cold Victorian winter, perfect weather

for visiting the exhibitions mentioned below.

Two RMIT alumni will feature in solo shows at

Craft Victoria. From 20 June - 27 Ju ly, Anna

Rowbury works sculpturally using a variety of

clays and an earthy palette of slips and dry

glazes. I can't wait to see her Shed Assemblage

installation, where she plans to use furniture,

audio and visual recordings alongside her

ceramics objects. Andrei Davidoff exhibits his

energetic, large-scale ceramics from

5 September to 12 October.

Anna Williams, Equine Group, 2013

Photo: Robin Roberts


Australia Wide

Congratulations to the NETS Victoria, for touring

the notoriously demanding medium of ceramics.

Tooth and Nail: Cross Cultural Influences in

Contemporary Ceramics was curated by RMIT's

Stephen Gallagher who acknowledges Australia's

geographical location in the Asia-Pacific region

and sharing of skills and knowledge with the

East has long been an influence upon Australian

ceramicists and, more recently, vice versa for

ceramicists from China and Hong Kong. I

enjoyed the comparative exercise of discerning

how origin, culture and training mayor may

not predict artistic outcomes of the artists

represented. Tooth and Nail completes its yearlong

Victorian tour at Wangaratta Exhibitions

Gallery from 24 August to 22 September.

National Gallery of Victoria International currently

hosts French artist Celeste Boursier-Mougenot's

installation Clinamen. Sited beautifully

between the Water Wall and the Great Hall, the

installation consists of more than 100 porcelain

bowls floating on a circle of bright blue water.

A swift jet stream intersects the pool, causing

the bowls to collide producing bright, resonant,

chiming sounds. Viewed from the balcony,

spontaneous groupings and patterns occur. While

Boursier-Mougenot is primarily concerned with

the musical potential of materials, by combining

water and clay together Cfinamen highlights

porcelain's innate qualities of lightness, strength

and that ringing tone we potters all know and

love. See Cfinamen, not only for the work itself

but also for the delighted audience responses,

until 8 September.

Fiona Hall's exhibition at Heide Museum of

Modern Art has appreciative tongues wagging.

Anyone influenced by textile, found objects,

dexterous making or conceptual issues related to

environment, colonialism or consumerism shall be

inspired by Big Game Hunting, ends 21 July, so

hurry! Heide continues to spoil us by presenting a

significant survey of Stephen Benwell's distinctive

practice from 8 to 27 August.

Robyn Phelan


E: email@robynphelan.com.au


In June, Polytechnic West Diploma Environmental

Arts students participated in Gomboc Gallery's

30th Sculpture Survey with outdoor ceramic

sculptures. Central Institute of Technology (C ln

Perth is running an exciting Winter Ceramics

School for the first time in the July school

holidays offering a master class in paperclay with

Graham Hay who may hopefully share news from

his frequent travels lecturing on paperclay across

the globe. There will also be opportunities to

learn wheel-throwing with Warvvick Palmateer,

and Raku with Njalikwa Chongwe who dazzled

us at CAAWf>:s PotOber last year. Other stars

include Sandra Black and Robyn Varpins.

Graham Hay continues his research with a

ceramics 3D printer at CIT to the fascination

and interest of the students. Muddy Buddy

classes, with parents and kids on the wheel and

skyscrapers built with clay, were part of CIT's

holiday classes for younger budding potters.

In North Fremantle, another international

clay star, Fleur Schell, has launched The Clay

House, a divine clay school of her own, in a

swish, fun venue in North Fremantle. Her team

includes US ceramic artists CJ Jilek and Tony

Wise offering exciting after-school options for

kids, professional development, printing on clay,

amazing slipcasting, handbuilding and, of course,

throwing workshops; http://theclayhouse.com.au.

Congratulations to Whiteman Park Pottery which

celebrates 25 years as a cooperative this year.

Ceramic Arts Association of WA (CAAWA) held

its 2013 Members Selective Competition in

April/May at Heathcote Museum and Gallery,

Applecross. Highly Commended awards were

given to Atsuko Sandover, Jackie Masters

and Janis Heston. The Judge's Award went to

Njalikwa Chongwe, the Kusnik Award to Stewart

Scambler and the People's Choice to Robyn Lees.

Images from this beautiful display of talent plus

a wealth of useful information may be found on

CAAWA's superb website; www.ceramicartswa.


Bet you all wish you lived in WAf

Elaine Bradley

E: lalab@iinet.net.au




canberra potters society

1 aspinalst watson

national gallery of australia

bookshop parkes pi canberra

walker ceramics

289 canberra ave fyshwick


art gallery of nsw

art galle/)' rd the domain


bathurst regional art gallery

70-78 keppel st bathurst

bellingen newsagency

83 hyde 51 bellingen

blackwattle pottery

20 stennett rd ingleburn

broken hill regional art gallery

404-408 argent st broken hill

brookvale ceramic studio

11/9 powells rd brookvale

coffs harbour pottery supplies

8 primrose ave mullaway

cowra regional art gallery

77 darling st cowra


65 andy poole drY tathra


281 clarence st sydney cbd


131 glebe pOint rd glebe

goulburn regional art gallery

cnr church and bourke sts goulburn

hazelhurst regional gallery

782 kingsway gymea

inner city clayworkers gallery

cnr st johns rd & darghan st glebe

keane ceramics

177 debenham rd south somersby

kerrie lowe gallery

49-51 king st newtown

lake macquarie art gallery

la lirst st booragul


111 killcare rd hardys bay

museum of contemporary art

140 george st sydney

northern rivers pottery supplies

54d terania st north lismore

nsw pottery supplies

41/159 arthursl homebush

nulladulla potters

princes hwy milton


114 commonwealth st surry hills

port hacking potters group

po box 71 miranda

sabbia gallery

120 glenmore rd paddington

sturt craft centre

range rd mittagong


museum and art gallery of the nt

conacherst fannie bay


cairns regional gallery

enr abbott and shields sts cairns

gallery + cafe frit

104 yabba rd imbil

gold coast city gallery

135 bundall rd surfers paradise

north queensland potters


15 flowers 51 townsville

pottery supplies

51 castle maine 51 milton

queensland art gallery

stanley pi south bank

rose bed st gallery

13 rosebed st eudlo

the clay shed

2124 hi-tech dve kunda park


art gallery of south australia

north terrace adelaide

bam furlong gallery

main 51 hahndorf

the pug mill

17a rose st mile end


derwent ceramic supplies

16b sunderland 51 moonah


artisan books

159 gertrude 51 fitzroy

bendigo art gallery

42 view 51 bendigo

brunswick bound

361 sydney rd brunswick


61ohnston crt dandenong

craft victoria

31 Ilinders lane melbourne

national gallery of victoria

180 st krlda rd melbourne

new leaves

cnr anslow and collrer sts woodend

north cote pottery supplies

142-144 weston st brunswick east


29 mills st albert park

potters equipment

13/42 new st ringwood

readings books

3091ygon st carlton

readings books

112 acland st st kilda

shepparton art gallery

70 welsford st shepparton

the brunswick street bookstore

305 brunswick st fitzroy


fremantle arts centre

1 finnerty st fremantle

geraldton regional art gallery

24 chapman rd geraldton

graham hay

robertson park artists studio


jacksons ceramics

shop 4,30 erindale rd baleatta

perth institute of contemporary


perth cultural cenlre james st


potters market

56 stockdale rd o'connor


lopdell house gallery

418 tltirangi rd waitakere city


Please contact the office if you

have a suggestion for a new

stockist; T: 1300 720 124

E: mail@australianceramics.com


Become a subscriber

The Journal of





3 issues/lyr 3 issues/lyr 3 issues/lyr

AU S92 AU 5116 AU S132

6 issues/2yrs 6 issues!2yrs 6 issues!2yrs

CERAMICS NOTE: All suhsCrlptlOns 110W Inelude hoth PRINT + DIGITAl,ssu,s

For digital issues only please go to wwwallsllal,anceramICS.COIll

Name _____________ Address _ _____________ _

Postcode ___ Country ____ Phone __ _

Email ______________________________ _

Please enter my subscription: New o Renewal 0

3 issues 0 6 issues 0 AmountS D

Method of payment:

Cheque (AUS only) 0 MasterCard 0 Visa 0

Card Number 0000000000000000

Expiry Date 0000

o Direct Deposit' IThe Australian Ceramics Association / Westpac / asa 032298 / Account No. 760550)


Signature / Date

gift subscription recipient details

Name __________________ _

Gift from _ ________ _

Addr5s ___________________ ___________ ___

Postcode ___ Country _ ______ Phone ___ ___ Email ___ ____ _

Published 3 times a year by The Australian Ceram ics Association. Please note: All prices include GST where applicable

Fax or mail to The Australian Ceramics Association. PO Box 274 Waverley NSW 2024 Australia

T: 1300720 124 F: +61 (2) 9369 3742 E: mail@australianceramics.com www.australianceramics.com


Become a member






• 1 year (3 issues) subscription to

The Journal of Australian Ceramics, print + digital

• 12 months Product, Public and Tenants

Group liability Insurance (optional)

• 6 issues of TACA's bi-monthly enews,

Australian Ceramics inTOUCH

• Free artist listing on the online Australian

Ceramics Dire ctory

• Discounts on TACA workshops

Opportunities to exhibit in TACA's national exhibitions

• Opportunities to meet other ceramic artists and collectors

• Tax-deductible membership fee

Join now and be part of the peak organisation representing

Australian Ceramics.

Annual Fee (Membership is anniversary-based so the date you join becomes your annual renewal date)




Membership Fee $98" without insurance - available to groups and individuals

Membership Fee $210" with insu ran ce, $10 million liability - available only to individuals·

Membership Fee $230" with insurance, $20 million liability - availa ble only to individuals·

• A Certificate of Currency will be issued to those who ta ke the 'with insurance' option.

, All prices include gst.

Name ___ _________ _

Address _ ___________ _ _

Postcode ___ Country _ ___ Phone __ _

Email _______________ _______________ _

Method of payment:

Cheque (AUS only) D MasterCard D Visa D

Card Number



Expiry Date

D Direct Deposit' (The Australian Ceramics Association I Westpac / SSS 032298 / Account No. 760550)


Signature / Date

Fax or mail to The Australian Ceramics Association, PO Box 274 Waverley NSW 2024 Australia

T: 1300 720 124 F: +61 (2) 9369 3742 E: mail@australianceramics.com www.australianceramics.com


On the Shelf

On the Shelf

More books are available on www.australianceramics.com


1. Lustre by Greg Daly

This handbook aims to

explam and simplify the

process of creating various

types of lustre. The book

covers recipes for lustres and

techniques for applying and

firing, as well as showing

you the results of the

author's extensive testing

AU $39.95

2. Developing Glazes

by Greg Daly

For any potter beginning to

experiment with fired colour.

texture and decoration in

their work, this book is an

essential reference with

practical advice and step-bystep

instructions for testing


AU $35

3. The Art of Woodfire

A Contemporary

Ceramics Practice

by Owen Rye

This book illustrates the

work of more than 24

Australian ceramic artists.

Owen Rye discusses his

perspective on wood·

firing, Its technical

aspects and the aesthetic


AU $110

4. Alan Peascod Artist

of Exceptional Talent

by Janet Mansfield

This book is both a record

and a celebration of Alan

Peascod's life and work.

A number of essays have

been commissioned from

friends, former students

and academic colleagues.

AU $80


5. The Leach Pottery


B&W with narration by

American potter Warren

Mackenzie; 17 minutes

of bonus footage taken

at the pottery in 1952;

14 page booklet by ShOJI


Duration: 32 mins

AU $40

.. tMdovo

6. Hodge Inkjet

Print on Clay

by Jenny Hodge

A resource DVD for artists

and teachers giVing step·

by·step instructions for

transferring images onto


Duration: Method 48 mlns

Keraflex 22 mins

AU S55

7. Grafisk (Graphic) Porcelain

by Ane· Katrine von BUlow



This short f ilm IS about Danish artist Ane·Katrine von

BOlow. It shows her process of making porcelain forms and

applYing designs to them. She develops 2D designs which

she sllkscreen prints onto tissue, then transfers onto her 3D

vessels. Duration: 14:25 mms

AU S30; limited supply available


ITEM: 10 20 30 40 50 60 70

All prices include GST and postage

within Australia.

Name __________________________ __

Address ______________________________ _


Postcode _______ Country ____________ _

Phone ________________________ Email ______________________________________ _

Cheque (AUS only) 0 MaslerCard 0 Visa 0

Card Number 000 0 000 0 0000 0000





Sydney-based pottery supply outlet selling clays from

Blackwattle. Clayworks. Feeneys. Keanes. Limoges and

Walkers with eNer 50 different clays held in stock. We also

manufadure earthenware, terracotta, stoneware and

porcelain casting slips. Blackwattle, Cesco, Deco and Kera

underglaze colours and glazes. Bulk raw materials. stains,

oxides, tissue transfers. lustres, wheels, kilns. tools.

workshops, classes, earthenware and stoneware firing

service, bisque ware, free advice, low prices and great

service. Over 30 years potting experience, delivery available

Australia-wide. Showroom open 6 days; 20 Stennett Rd.

Ingleburn NSW 2565; T: 02 9829 5555; F: 02 9829 6055; E:

blackwattlepottery@bigpond.com; www.blackwattle.net.au


~" ; d~1!

~..: -


By using state of the art digital printing technology. Decal

Specialists can produce high quality custom digital ceramic

decals and custom glass digital decals from original artwork

(CMYK). The decorative possibilities with Custom Digilill

Decals are only limited by your imagination! Check out our

website: Vv'VYIN.decalspecialists.com.au

T: Australia 1300 132 771 New Zealand: 0800 000 451

E: enquires@decalspecialists.com.au


Sydney inner city pottery supplies: Keane's Clay - discount

on 5 bagsllO+ bags; Southern Ice Porcelain; Museum Gel

Chinese Decals; wide range of tools, glazes, underglazes.

Kerrie Lowe Gallery. 49 King St. Newtown 2042

T: 02 95504433; E: lowekerrie@gmail.com

Mon - Sat. lOam - 5.30 pm; Thurs until 7 pm.

K' lii


Manufacturing Kilns in Australia since 1972.

We offer a full range of electric kilns, glass ovens and

furnaces to suit your requirements. Over 100 different styles

are available or we can custom design one to your needs.

C -Tick compliant and Department of Education approved

designs. 125 Broadway. Bassendean WA 6054; T: 08 9377


E: sales@kilnwest.com.au; www.kilnwest.com.au


Northcote Pottery Supplies sells a range of quality pottery

materials including clay, glaze, rools and equipment for the

student, hobbyist and profesSional. We run a range of

classes and workshops for those interested in furthering

their skill and knowledge in ceramics. We offer a firing

service, studio access and residency program, as well as

housing SMALlpieces, a space showcasing contemporary

Australian ceramics. 142-144 Weston Street Brunswick East

3057; T: 03 9387 39t 1; F: 03 9387 4011



The CP probe is a very simple, low cost oxygen probe with

an easy-to-read digital meter displaying oxidatiOn/reduction.

This probe is ideal to control both gas and wood-fired kilns.

Type CP oxygen probe - the simple. low-cost potters' probe.

See W'WW.cof .com.aU/AOS or call Australian Oxytrol Systems

on 03 5446 1530.


Quality supplies and friendly service; A wide range of clays

and colours, kilns, wheels. slab rollers, pugmills, extruders,

all sorts of accessories, materials, glazes and tools.

Shop 13/42 New St. Ringwood VIC 3134

T: 03 9870 7533; F: 03 9847 0793


One of Australia's most experienced kiln and furnace

manu-facturers; Australia's largest range with 40 standard

sizes, custom sizes on request; Clean, efficient electric and

gas kilns and furnaces; made in Australia. environmentally

friendly. 12 George St. 81ackburn VIC 3130

T: +61 (0)39877 4188; F: +61 (0)39894 t974

E: info@tetlow.com.au; v..ww.tet/ow.com.au


Manufadurers and exporters of high quality pottery

equipment. Venco manufacture a range of pugmills with

output capacities, suitable for schools and studios through

to high capacity industrial units. Venco pottery wheels are

world regarded for quality and reliability.

T: +61 (0)8 9399 5265; F: +61 (0)8 9497 1335



Factory outlet is now open at 1/21 Research Drive Croydon

South with a full range of ceramic supplies - clays, glazes,

colours, raw materials, tools, brushes, equipment, kilns,

wheels. books and kiln furniture. We are manufacturers of

Walker Ceramics. Feeneys Clay and Cesco clays. glazes and

colours. NEWSFLASH: Greg Daly Videos now available as

DVDs. Great parcel and pallet rates Australia wide. Please

see our website for full product information including methods

of use, application and faults and remedies. Download

our Pottery & Ceramic Handbook, Melbourne price list. Canberra

price list and Feeneys Clay price list at WW'vV.walkerceramics.com.au.

Our aim is to use, from Australian sources,

the best quality raw materials to produce our own range of

Australian-made bodies. glazes and colours for all aspects of

ceramic production. Walker Ceramics and Feeneys Clay, 2/21

Research Drive. Croydon South VIC 3 t 36; T: 03 876 t 6322

F: 03 8761 6344; Toll free: 1800692 529118000ZCLAY

E: sales@Walkerceramics.com.au; orders@Walkerceramics.

com.au or david@Walkerceramics.com.au;



Offering a complete range of electriC and gas kilns, all

Australian made; featuring aluminium frame with 10 year

warranty, fibre board lining - up to 60% cheaper to run;

easy to use automatic multi-stage controller; failsafe backup

circuit; backed by friendly phone support, after sales service

and a 3 year fadory warranty; T: 02 9790 2717





AS NEW 21 cubic ft Cesco Gas Kiln

Twin pIlot, 4 main burner, mUltiple shelves and props, digital

pyrometer, stainless canopy and flu. Paid total of S 15,500 on

del Feb 09; fired less than a dozen times. As new

condition. current~ in storage. Moved properties and won 't

fit new studio. A regretful sale, $9750 neg.

Contad Nadine on 0417 688 642 or email





We Invite you to join us at our monthly meetings where we

invite guest demonstrators from Australia and sometimes

overseas, covenng a range of aspects relating to clay. Being

a member gives you access to our library offering up·to-date

bOOKS, magazines and DVDs, plus our wood fired kiln at

Oxford Falls. We publish a monthly newsletter and offer an

ideal forum for experienced potters as well as beginners and

students wishmg to learn more and network.

T: 02 9630 3363; E: csgsecretary@hotmail.com




ceramic mass production and artworks. Ceramic design

service also available. Contact Somchai, T: 02 9703 2557

M: 0401 359 126; E: eatandclay@gmail.com



Providing ceramic artists with digital and traditional

photographic imagery, as well as graphic design to print or

electronic media; an Associate AIPP (Australian Institute of

Professional Photographers) with over 30 years experience

in various advertising, corporate and government projects;

previously (for eleven years) inaugural manager of the

photographidmultimedlB unit at the Powerhouse Museum in

Sydney; Drummoyne N5W 2047; T: 02 9181 I t88

M : 041 1 107744; E: greg@gregpiper.com.au




Affordable, designed for strudural integrity, lightweight;

also for hire. Roger Fenton, St lves NSW

T: 02 9488 8628; F: 02 94401212; M: 0417 443 414



at MoonshiH. Tarago near Goulburn

Open Studio (OSCAS) on Saturday 17 and Sunday 18 August

2013, demonstrations and firings, lOam to 4pm each day;

Sunday 3 November 2013, one day workshop - Slab Happy

- Focus on Form. Bookings are essential for workshops. Full

Information at VIMW.janecrick.netfirms.com or contad Jane

on T: 02 61610806 or E: janecrick@dodo.com.aus


Slow Clay Centre offers an extensive variety of ceramics and

pottery classes throughout the year - weekly term ciasses,

intensive weekends and short courses and a rich variety of

one-day guest artist workshops and forums . SCC caters for

children and adults, from beginners to the more skilled.

13 Keele St, Collingwood VIC 3066; T: 0418 t 06039

E: Info@slowclay.com; W'hW.slowclay.com



Come along to this unique gallery, run by ceramic artists. for

handmade ceramiCS - functional, sculptural and decorative.

Cnr St Johns Rd and Darghan St Glebe NSW 2037

T: 02 9692 9717; www.clayworkers.com.au


Contemporary Australian ceram ics and pottery supplies

located in inner city Sydney. The gallery features functional

ware, vessels, sculpture and jewellery by emerging and

professional ceramic artists; 49-51 King St. Newtown NSW

2042; E: lowekerrie@gmail.com; 'MVW.k.errielowe.com




9 & 18 week short courses plus Certificate, Diploma and

Advanced Diploma qualifications in ceramics - full and parttime


Cnr The Klngsway and Hotharn Road, Gymea NSW

T: 02 97 I 0 5001; www.sit.nsw.edu.aulceramics/gymea and

find us on facebook, ·Ceramic Design Studio - TAfE Sydney

Institute" .


Holmesgien Chadstone Campus: Diploma of Ceramics

The scope and vision of our Diploma of Ceramics course at

Holmesglen is to prepare students for a career in the ceramic

arts. We provide a professional, well equipped studio

environment and the staff are recognized, practising artists.

Our aim is to inspire individual development and encourage

ongoing levels of inquiry. Kim Martin, Course Coordinator of

Ceramics and Visual Arts; T: 03 9564 t 942; 03 9564 1716

E: kim.martin@holmesglen .edu.au wvvw.holmesglen .edu.au

The Australian Ceramics


Secure and Easy



is now available

@ www.australianceramics.com


Secrets of Terra Sigillata

A two-day workshop wit h Wa lter Auer

Tuesday 1 October + Wednesday 2 October 2013

Northern Beaches College

154 Old Pittwater Road, Brookvale, Sydney NSW

$200 per person

$180 TACA members


For further information and bookings please contact The Australian Ceramics Association

T: 1300 720 124 F: 02 9369 3742 E: mail@australianceramics.com www.australianceramics.com

2013/2014 Focus

& Deadline Dates



20 November 2013

Ecology and Ceramics

Oeadline for copy:

9 September 2013

53/ 1


1 April 2014


Australia & Asia

Oeadline for copy:

3 February 2014

53 /2


17 July 2014

Emerging artists

writers and


Deadline for copy:

5 May 2014




SHIMPO Precision Pottery Equipment

To view our full range of equipment please visit our website





quality pottery supplies and services

Northcote Pottery Supplies Pty Ltd

142 - 144 Weston Street

Brunswick East 3057

(PH) 0393873911

New web site:


-_ .. _- - --------------------



presents Ted Secombe at the

Powerhouse Museum

on Sunday 25 August 2013

M ist:


Continuing our 50th year

anniversary, Ted Secombe

one of Australia's finest

ceramic artists is giving us

a one-day presentation and


Everyone is welcome.

Members enjoy monthly

presentations by Australian

and overseas potters, a

monthly newsletter, access

to an updated library, DVDs

our woodfired kiln and

networking with like-minded


For bookings email:



creat n 9 w t h pape r

Tissue Transfer Papers





afferenF ?

100/($ 1 clever design prevents

marine grade aluminium

wheel head 33cm (1

• bat pins

water / slip from getting

under wheel head for

easy cleaning

marine grade aluminium tray

* 10 yr warranty on breakage

• easy clean with large drain hole

* wooden side trays also available

easy clean control pad

• aux. speed control buttons

• fwd/rev

• auto turn-off (power saving)

clip-on seat (optional)

• padded & adjustable

• stainless steel frame

stainless steel body & legs

• no rusting

• ergonomic curved design

• table-top kit included

low profile footpedal

• high impact

powerful direct drive motor

• stainless steel &

• no belts - maintenance free polycarbonate I III

• 3/4hp permanent magnet motor ,'I-- ,$ .. ,

• super smooth and responsive

L.ec A JJ$ e y

• very quiet and smooth l--/fa'F $ V, CA,.,"_ ' _______ --.....

,.._________... Y features

- 550W permanent magnet motor

- dedicated intelligent control system

- low profile footpedal

- smooth. powerful and ultra quiet

- fOfWard I reverse

- auto turrH>ff & overtoad protection

- 110-240V 50160hz

- 10 year warranty on lray and frame


- cIip-on marine ply shelves

- riser bat and standard bats

- stand-up and tablel!loor kits

Also dVdlltJple.·

V.tNCO SldP roller

COLOURS Rockwood Pigments, Cesco,

Walker Ceramics, Clayworks, Deco,

Chrysanthos CLAYS

Bendigo, Bennetts,

Blackwattle, Clayworks, Feeneys, Keanes,

Northcote, Walkers EQUIPMENT

wheels, slab rollers,

ACCESSORIES Brushes, corks,

kiln shelves, etc MATERIALS

and more GLAZES Powder and

Clay tools, Kemper, Giffin Grip and

NEW - Limited supply of Duncan nm,," "rT

Pottery & Ceramics Studio

(!) Pottery Classes

(!) Casual Social Sessions

(!) Casual Studio Access

(!) Firing Service

(!) Clay & Materials




Helping you produce Beautiful Ceramics, Pottery and Glass for over 40 years

A Complete Range of

Electric and Gas Kilns:

• Aluminium Frame/Case with 10 Year Warranty

• Fiber Board Lining - Up to 60% cheaper to run

• Variable Pitch Elements for Even Chamber Temp

• Easy to Use Automatic Multi-stage Controller

• Failsafe Backup Circuit and Door Switch

• All Kilns can Fire to 1280C

• Kanthal A 1 Elements and k28 Brick Floor

• Light Weight - Easy to Install and Move

• Locking Controller Cover for all School Kilns

• Shelf and Prop pack included in price for all Kilns

Backed By:

• Phone Support and alter Sales Service

• Recommended Firing Schedule with Wall Chart

• 3 Year Factory Warranty, 10 Year for Frame/Case

Quote 'LC1' for 50% OFF

freight till 119/2013



2 ::";___


lIi- -

11- -







Join The Australian Ceramics Association

Facebook page here:


-C Uke

Ceramics Design Studio


We offer a wide range of specialist ceramic studio courses

Short Courses:


9 Week Introductory Classes, 18 Week Advanced Wheel,

Mould Making, Handbuilding, Open Studio Practice

Certificates, Diploma and Advanced Diploma in Ceramics

VET FEE help available for Diploma & Advanced Diploma


Photo: Si]versalt Photography

Ceramics by Robert Jeffers


The Kingsway & Hotham Road, Gymea NSW 2227, Tel : (02) 9710 5001



• All [n One Mixing Pugmills

• Patented Single Auger Design

• Easy to Mount Extrusion Dies

• InteUectual Mixing Tecbnology

• Stores Moist Clay Indefinitely

• Huge Hopper Opening

No Vacuum Screem or Ports

to Plug, Clean 0 r Slow Down

Cycle Times.

. s..u, l!B!*

. A .... Electll~l

. Patelded v."i1l!1J

. ReaJ..tiJIIe a." __

. Van.bIe Speedc.. .. f:~i~

. CE Certified

· USAMade

Peter Pugger Mfg Inc

3661 Chrfity Lane, Ukiah, CA 95482

Phone: (707)463-1333 Fax: (707)462-5578

(€ CERTIFIED www.peterpugger.com



A new retail space for handmade AusLI-alian ceramICS

40 l3ul'nie St Clmclly S\\ 20'1£

rhuni I rI lOam bpi"" Sat SU'l lOam '')1'1'"

Bv oIppUltllHlenl fJuf!rnd th~sc hO\lrs

0-127 ,)01 107

\\\\\\ chinaci;lv rom au





Slow Clay Centre is a specialist ceramics education centre in inner city Melbourne.

Together with weekly classes we are pleased to offer a rich choice of guest artist workshops

and courses with some of Australia's wonderful ceramic artists. We hope you can join us!

Prue Venables:


A rare

demonstratIon &

hands-on workshop

of Prue's Inventive

and unique


Sat t3 & Sun t4

July lOam - 4pm

$425 ($395)




Penny Byrne:


Restoration &


Up-skill with all the

tncks Penny uses to

create her own famous


Tues 7-9pm; 6 weeks

8 Oct - 19 Nov

$335 ($300)

Vipoo Srivilasa:


Bring your own

stories and history to

create a set of

personalised spoons

Sun 11 August

lOam - 4pm $215

($195) A Craft

Cubed Satellite




The Positive


Learn to make a 2-

part mould to use

lor slipeasting

Sat 12 October

lOam - 4.30pm $215 ($195)

$215 ($195)

Shannon Garson:

Surface Stories

See Shannon's

intricate surfaces and

learn how she

achieves them

Sun 10 November

lOam - 4pm

Enquire or reserve a place: inlo@slowclay.com

13 Keele SI

Like us on Facebook : www.facebook.com/slowclay

Collingwood VIC

More info & newsletter: www.slowclay.com Studio visits by appointment only T: 0418106 039


Trudie Alfred (1922 - 201O)" was a weLlknown

Sydney potter and teacher with a great

passion for ceramics. She struggled

financially to sustain a ceramic practice in

her earLy years as a potter and so, to assist

others in a Similar position, she left a generous

bequest to The Australian Ceramics

Association. Trudie specified that the funds be

used to support the work of students

preparing to embark on a career in the field

of ceramics.

Valued at up to $4000 + 1 ye a r members hip of TACA . open

to students enrolled in their second o r subsequent year of a

c e r am ic program · sele ction panel of three Austra l ian c eram i c

artists from different states ' must be c urrently enrolled at t i me

of scholarship award . ope n to Australian citizens or those

with permanent residency se l ection c r iteria: a c ademic

achievem e nt · quality of c erami c work , rat ionale fo r funding

not previously received this scholarship written report

required at end of scholarship period

Successful applicants will be no tified late November 2 01 3.

;0. see the tribute to Trudie Alfred in The Journal of Australian Ceramics

Vol 49/ 3, November 2010, pages 10-11

The Australian Ceramics Association's

Biennial Exhibition 2014

Manly Art Gallery & Museum

2 May - 8 June 2014

the course of objects;

the fine lines of inquiry

Curator: Susan Ostling

Mollie Bosworth, Amanda Bromneld . Kirsten Coelho , Greg Daly, John Dermer

Kate Dorrough, lynda Draper . Merran Esson, Fiona Fell, Cathy Franzi

Simone Fraser Neville French , Susan Frost, Shannon Garson, Steve

Harrison , Fiona Hiscock , Janetta Kerr-Grant , Diamando Koutasellis

Kylie Rose Mclean, Sarah Ormonde , Vicki Passlow. Dianne Peach , Julie

Pennington . Robyn Phelan, Ben Richardson, Tania Rollond, l i z Stops

Prue Venables and Toni Warburton.

Saturday 17 August &

Sunday 18 August 2013

10am - 4pm

Studio times may vary. Please refer to individual listings.




Buff Raku Trachyte





Proudly ~

manufacturing ~

in Australia


• ...•


Glazes & Colours


and Supplies

ISSN 1449-275X


9 t449 275007

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!