The Journal of Australian Ceramics Vol 52 No 2 July 2013

Focus: Education 

Clay Push Gulgong 2013 

Open Studio Ceramics Australia

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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&copy 5478 8556

.' 

- 

SPRING FEVER 2013 PACKAGES 

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. 

FULL RESIDENTAL PACKAGE 

MEMBERS 

NON 

MEMBERS 

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 

FULL DAY ATTENDANCE PACKAGE 

MEMBERS 

NON 

MEMBERS 

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

Bonus studio tour and lunch on Monday. 

$450 $490 

SELECTED DAY ATTENDANCE 

MEMBERS 

NON 

MEMBERS 

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

teas. 

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 

teas. 

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

$140 $150 

$140 $150 

$140 $150 

$50 $75 

PARTNERS RESIDENTAL PACKAGE 

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. 

$435 

MOFRE FUN EVENTS 

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

delegates) 

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

$30 

$30

~ 

SPRING FEVER 2013 REGISTRATION 

NAME 

ADDRESS 

PHONE 

EMAIL 

PAYMENT METHOD 

VISA D n MASTER CARD DIRECT 

MONEY ORDER D 

n DEPOSIT CHEQUE 

CASH D 

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

D 

Cardholders Name Expiry Date / CSV 

Banking Details for direct deposit 

ACCOUNT NAME: SUNCOAST CLAYWORKERS ASSOCIATION INC. sss: 124-189 ACCOUNT NO: 10615886 

please make cheques payable to SUNCOAST CLAYWORKERS ASSOCIATION INC. 

FULL RESIDENTAL PACKAGE 

FULL DAY ATTENDANCE PACKAGE 

MEMBER $675 

NON MEMBER $720 

MEMBER $450 

NON MEMBER $490 

i 

SELECTED DAY ATTENDANCE 

FRIDAY-MEMBER $140 

FRiDAY-NON MEMBER $150 

SATURDAY-MEMBER $140 

SATURDAY-NON MEMBER $150 

i 

SUNDAY-MEMBER $140 

SUNDAY-NON MEMBER $150 

MONDAY-MEMBER STUDIO TOUR AND PICNIC LUNCH $50 

MONDAY-NON MEMBER STUDIO TOUR AND PICNIC LUNCH $75 

PARTNERS RESIDENTAL PACKAGE $435 

MORE FUN EVENTS 

Conference Dinner including drinks-SATURDAY NIGHT per person $30 

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

TOTAL 

SPECIAL REQUIREMENTS (vegetarian, vegan, diabetic, etc)

Contents 

Volume 522 

July 2013 

516 

Cover 

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 

Publisher 

The Australian Ceramics Association 

PO Box 274 Waverley NSW 2024 

11300 720 124 

F: +61 (0)2 9369 3742 

mail@austra!iaoceramlG.com 

www.australianceramics.com 

ABN 14 001 535 502 

ISSN 1449-27SX 

Ed itor 

Vicki Grima 

WWN.vickigrima.com.au 

Marketing and Promotions 

Carol Fraczek 

Design 

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. 

2 EDITORIAL 

3 CONTRIBUTORS 

4 GALLERY 

TRIBUTE 

8 The Work of Janet Mansfield Chester Nealie 

CLAY PUSH FEATURE 

11 Greg Piper on Clay Push 

12 Clay Push Masters 

22 Clay Push Presenters 

24 Clay Push South East Asian Demonstrators 

FOCUS: EDUCATION 

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 

education 

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 

54 OPEN STUDIO CERAMICS AUSTRALIA SHOWCASE 

PROMOTION 

64 Keane Ceramics 

REGULARS 

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 

104 POTTERS MARKS 

105 VIEWED & READ: Natalie Velthuyzen 

106 AUSTRALIA WIDE: State Representative Reports 

THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2013

Editorial 

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 

flowed. 

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 

~ 

2 THE JOURNAL OF AU STRALIAN CERAMICS JULY 2013

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. 

http://unicornspew.blogspot.com.au. 


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 


Birgit Sowden from Eumundi in Queensland 

has a great appreciation for doing clay work with 

children. 

"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 . 

THE IOURNAl OF AUSTRALIAN CERAMICS IULY 2013 3

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.

Tribute 

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 

itself. 

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. 

THE JOURNAL OF AUSTRALIAN CERAMICS JULY 201) 11

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. 

12 THE JOURNAL Of AUSTRAliAN CERAMICS JULY 201)

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. 

THE JOURNAL Of AUSTRALIAN CERAMICS JULY 2013 13

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. 

14 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2013

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. 

THE JOURNAL OF AUSTRALIAN CERAMtCS JULY 2013 15

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 

w

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. 

18 THE JOURNAL OF AUSTRALIAN CERAMI CS JULY 2013

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. 

THE JOURNAL OF AUSTRAliAN CERAMICS JULY 2013 21

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 

community. 

THE JOURNAL OF AUSTRALIAN CERAMICS JU LY 2013 23

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. 

24 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012

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. 

THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2013 

2S


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, 

26 THE 10URNAL OF AUSTRALIAN CERAMICS IULY 2013


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 

practices. 

Rod Bamford was the education forum chair at Clay Push. 

http:// rodbamford.com 

THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2013 27

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. 

28 THE IOURNAL OF AUSTRALIAN CERAMICS JULY 2013


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 

ceramicists. 

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 



---------- 

, , 

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 

]0 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 201]

Fo cu s: Education 

left: Anthony Wise, resIdent artist 

al The Clay House 

Below: children's class at The Clay 

House 

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. 

References- 

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 

Workshop-aholic 

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 

away. 

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 

tantalising. 

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 



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. 

TH E 10URNAL OF AUSTRALIAN CERAMICS JULY 2013 33

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 



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 

THE JOURNAL OF AUSTRALIAN CERAMICS IULY 2013 

3S


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, 

www.slowclay.com 

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



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 

unusual. 

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 



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 



3 

Holmesglen Institute of TAFE, Chad stone, VIC 

www.holmesglen.edu.au 

1 Rachel Cramer 

2 Pie Barberis 

3 Yuso Lee 

4 Susan Frankel 

Hunter Institute of TAFE, Newcastle Art School, NSW 

www.hunter.tafensw.edu.au 

1 Anthea Rogerson 



lIIawarra Institute of TAFE, Goulburn, NSW 

www.illawarra.tafensw.edu.au 

1 Penelope Hoskins 

2 Ann Doreen 

3 Irene Ross 

4 Pauline Ingall 

TAFE SA, Mount Barker 

www.tafesa.edu.au 

1 Suzy Fagan 

2 Matilda Bryson 

.. 

2 



National Art School, Sydney, NSW 

www.nas.edu.au 

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 

2 

9 


Focus : Educatio n 

North Coast Institute 

Lismore Campus 

http://northcoast.tafensw.edu.au 

1 Mitra Moser 

2 Amanda Bromfield 

3 Peter McGowan 

4 Lena Logan 

Northern Sydney Institute - Hornsby Campus 

www.nsi.tafensw.edu.au 

1 Kylie Rose McLean 

2 Janeane Moore 

3 Marjatta Kaukomaa 

4 Clare Unger 

5 Kay Wulff 

Photos: Steve Cummings 

Ughtplay 



Northern Sydney Institute 

Northern Beaches Campus 

www.nsi.talenswedu.au 

1 Ros Lowe 

2 Margaret Paradysz 

3 Dawn Carroll 

4 Jenny Blackwell 

5 Jing Gandy 

6 Robert Towns 

Photos: Steve Cummings 

Lightplay 

Sunshine Coast Institute of TAFE 

www.sunshinecoast.tale.qld.gov.au 

1 Isla Griffin 



--------- 

RMIT University. VIC 

www.rmit.edu.au 

1 Janetta Kerr Grant 

2 Jacqui-Rae Cai 

3 Varuni Kanagasundaram 

4 Erin Dixon 

Photos: 

Jeremy Dillon 

2 

3 

Sydney Institute of TAFE 

Gymea. NSW 

www.sit.nsw.edu.au/gymea 

1 Ros Owen 

2 Frances Wilson 

3 Andres Caycedo 

4 Mei Ling Wong 

Photos: 

Silversalt 

Photography 

"t it 

~ E~ ?:l~ 

'ftNBE r 

2 

4 



TAFE SA. Adelaide College of the Arts 

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

1 Tatiana Williams 

2 Joy Furnell 

Tasmanian Polytechnic 

www.polytechnic.tas.edu.au 

1 Virginia Perkins 

2 Ken Ryan 

University of Newcastle. NSW 

www.newcastle.edu.au 

1 Elizabeth Curran 

2 Kylie Salm 

3 John Heaney 



University of NSW, College of fine Arts 

www.cofa.unsw.edu.au 

1 Santin a Ingui 

2 My! Doherty 

University of SA, South Australia School of Art 

Architecture and Design 

WWIN.unisa.edu.au 

1 Sami Porter 

2 Lauren Abineri 

Photo: Mark Kimber 

3 Michael Carney 

Photo: Mark Kimber 

4 Maddie Deere 

5 Ebony Heidenreich 

Photo: Phil Martin 

3 

4 



University 

of Southern 

Queensland 

www.usq.edu.au 

1 Antony Lowndes 

2 Erin Herman 

3 Lynette Larson 

3 

2 

Western Sydney Institute 

Nepean College. NSW 

http://wsi.tafensw.edu .au 

1 Karen Normoyl 

2 Andrew Hickey 

3 Calen Sterling 

3 

THE IOURNAl OF AUSTRALIAN CERAMICS IUlY 2013 49


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 

celebrations. 

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 

so THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2013



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 

52 THE 10URNAl OF AUSTRALIAN CERAMICS IUl Y 2013


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

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. 

THE IOURNAl Of AUSTRALIAN CERAMICS JULY 2013 

S3

Ceramics 

Australia 

UNEARTH YOUR LOCAL POTTER 

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 

Canberra 

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- 

Burke-Ceramist/2774B50B5687960 

T: 02 4324 5343 www.ccpotters.org 

www.mudslingerceramics.net 


SS

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/ 

PurpleRidgePotteryAustralia 

T: 0428 755 792 

T: 026161 0806 www.janecrick.netfirms.com 

T: 0428 128322 

T: 02 6494 0272 

T:0411473072 

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 



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 

T:0401910074 

www.catherinelaneceramics.com 

www.emilyl.com.au 

www.janetteloughreyceramics.com.au 

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 

www.macquariehillspotters.com.au 

www.katherinemahoney.id.au 

www.dmpottery.com.au 

www.suviramcdonald.com 

www.zani.net.au 

www.susiemcmeekin.com 

www.wmceramics.com.au 

www.newcastlepotters.org.au 

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 

www.kanmadeceramics.com 

www.michelepetrie.com 

THE JOURNAL Of AUSTRALIAN CERAMICS JULY 2013 57

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 

2783 

T: 0410 261 570 www.lindaseiffert.com 

www.jacquelinespedding.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 

S8 THE JOURNAL OF AUSTRALIAN CERAMICS JULY 201)


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 

www.facebook.com{pages{ 

Karapryorceramics{ 

549081438443779 

www.jowoodceramics.com 

Vicki Xiros Belmore 2192 

T: 0404 104299 

www.facebook.com{vikiizceramics 

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.molliebosworth.com 

www.cairnspottersclub.net 

www.creativeclay.com.au 

www.carolforster.weeb ly.com 

www.sam-keane-claywork.com 

www.welcome.to{jkdellow 

www.jennymulcahy.com 

www.nqpotters.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/ 

stephanie.outridgefield 

T: 0434 912168 www.agileargile.com 

T: 0408 155 667 www.meganpuls.com 

T: 07 54450622 www.stephenroberts.com.au 

Kim Schoenberger 

Kay ~ Stephens 

Grakay 

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 ~ 

James-Manttan 

West Croydon 5008 

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

60 THE JOURNAL OF AUSTRALIAN CERAMICS IULY 2013

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 

Association 

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



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 


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 

www.facebook.com/ 

Ma riaVan heesCera m ics 

www.whyteware.com.au/alistair 

www.dawnwhitehand.wordpress.com 

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 

www.bigbamboojewellery.com 

www.gregcrowe.com.au 

Guildford Village Guildford 6055 

Potters 

T: 92799859 

www.gu ildfordpotters.webs.com 

Graham Hay Perth 6000 

Robertson Park 

Artists Studio 

T: 0432 978 733 

www.robparkart.info 

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

THE IOURNAL OF AUSTRALI AN CERAMICS JULY 201) 6 )

Pro m o t ion 

---------- 

Inspire 

Stimulate 

Promote 

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 . 

KEANE 

CERAMICS 

OPEN DAY 

2013 


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 

Ceramics. 

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 

1300°C 

Contact Keane Ceramics for 

further details: 

0243401069 

sales@keaneceramics.com.au 

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. 


6s

Promotion 

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. 

14 

GAUGE 20 18 16 

66 TH E JOURNAL OF AUSTRALIAN CERAMICS JULY 2013

~ 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 

www.sheppartonartmuseum.com.au 


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 

THE JOURNAL OF AUSTRALIAN CERAMI CS JULY 2013 71

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.

Viewll 

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 

l..Shepherd.htm 


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 

selves. 

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 

stores. 

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 

purveyed. 

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 

environment. 

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 

Anniversary 

Kylie Rose McLean looks at the plans for an exciting future 

J 

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 

3 

4 

5 

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 

generation. 


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 

world. 

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 

www.ccpotters.org 

THE IOURNAL OF AUSTRALIAN CERAMICS IULY 2013 81

Community II 

Showtime! 

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 


Community" 

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 + 

oe 

JOurnal 01 AUstralian ceramiCS. 

af 

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 

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 

injury. 

Far Left: Incorrectly lifting a shelf 

Left: Correctly lifting a shelf - note 

straight back and bent knees 

THE JOURNAL OF AUSTRALIAN CERAMICS JULY 20 13 

8s

Studio 

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. 

Burns 

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 


Studio 

Cleaning a kiln shelf 

Sharp edges on a fired piece 

Cuts 

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 

chisel. 

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. 

THE 10URNAL OF AUSTRALIAN CERAMICS JULY 2013 87

Studio 

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. 


Studio 

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 

computer. 

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 

site. 



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. 



300 ppi 72 ppi 

Example: 

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. 

References 

http://astridwehlinggraphicdesign.typepad.com/notes/2013/02lof-smali-and-big-things.htm I 

www.andrewdaceyphotography.com/articles/dpi 

www.techterms.com 

Elisa Bartels is a ceramicist, writer and dreamer. 

www.elisabartels.com 


Overseas 

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.

Overseas 

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 

https:llwww.facebook.com/PauIGenningsceramics

Handle Your Ceramics! 

WINNER 

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 

6 

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 

10 Photographer: Tanya Bechara, Tanya Bechara, Sydney NSW, May 2013 

THE JOU RNAL OF AU STRALIAN CERAMICS JULY 2013 97

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. 

Flexibility 

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 

weight. 

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 

citizens) 

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 

beyond. 

References: 

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 


Wedge 

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? 

Paintings! 

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. 

Waa! 

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. 

'02 THE JOURNAL OF AUSTRALIAN CERAMI CS JULY 2013

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 

canvas! 

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 

http://unicornspew.blogspot.com.au 

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 

$35 

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 


lOS

Austra lia Wide 

act 

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/ 

programs/spin. 

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 

October. 

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 

nsw 

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 

bowls. 

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. 

Cheers. 

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 

sa 

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 

tas 

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 

vic 

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 

108 THE JOURNAL Of AUSTRALIAN CERAMICS JULY 2013

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 

www.robynphelan.com.au 

E: email@robynphelan.com.au 

wa 

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. 

asn.au. 

Bet you all wish you lived in WAf 

Elaine Bradley 

E: lalab@iinet.net.au 

THE IOURNAl OF AUSTRALIAN CERAMICS IUlY 2013 109

Stockists 

ACT 

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national gallery of australia 

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NSW 

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sydney 

bathurst regional art gallery 

70-78 keppel st bathurst 

bellingen newsagency 

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blackwattle pottery 

20 stennett rd ingleburn 

broken hill regional art gallery 

404-408 argent st broken hill 

brookvale ceramic studio 

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coffs harbour pottery supplies 

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goulburn regional art gallery 

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hazelhurst regional gallery 

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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 

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museum of contemporary art 

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sturt craft centre 

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NT 

museum and art gallery of the nt 

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On the Shelf 

On the Shelf 

More books are available on www.australianceramics.com 

Lustre 

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 

glazes. 

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 

possibilities. 

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 

ovo 

5. The Leach Pottery 

1952 

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 

Hamada. 

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 

clay. 

Duration: Method 48 mlns 

Keraflex 22 mins 

AU S55 

7. Grafisk (Graphic) Porcelain 

by Ane· Katrine von BUlow 

NEW 

DVD 

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 

ORDER FORM 

ITEM: 10 20 30 40 50 60 70 

All prices include GST and postage 

within Australia. 

Name __________________________ __ 

Address ______________________________ _ 

_______________________________________ 

Postcode _______ Country ____________ _ 

Phone ________________________ Email ______________________________________ _ 

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Classifieds 

CERAMIC SUPPLIES 

BLACKWATTLE POTTERY SUPPLIES 

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 

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workshops, classes, earthenware and stoneware firing 

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service. Over 30 years potting experience, delivery available 

Australia-wide. Showroom open 6 days; 20 Stennett Rd. 

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blackwattlepottery@bigpond.com; www.blackwattle.net.au 

.... 

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T: Australia 1300 132 771 New Zealand: 0800 000 451 

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Kerrie Lowe Gallery. 49 King St. Newtown 2042 

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Mon - Sat. lOam - 5.30 pm; Thurs until 7 pm. 

K' lii 

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OXYGEN PROBE 

The CP probe is a very simple, low cost oxygen probe with 

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This probe is ideal to control both gas and wood-fired kilns. 

Type CP oxygen probe - the simple. low-cost potters' probe. 

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on 03 5446 1530. 

POTTERS EQUIPMENT PTY LTD 

Quality supplies and friendly service; A wide range of clays 

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Shop 13/42 New St. Ringwood VIC 3134 

T: 03 9870 7533; F: 03 9847 0793 

TETLOW KILNS & FURNACES PTY LTD 

One of Australia's most experienced kiln and furnace 

manu-facturers; Australia's largest range with 40 standard 

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friendly. 12 George St. 81ackburn VIC 3130 

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VENCO PRODUCTS 

Manufadurers and exporters of high quality pottery 

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WALKERS CERAMICS/FEENEYS CLAY/ CESCO 

Factory outlet is now open at 1/21 Research Drive Croydon 

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wheels. books and kiln furniture. We are manufacturers of 

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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; 

wwvv.walkerceramics.com.au 

WOODROW KILNS 

Offering a complete range of electriC and gas kilns, all 

Australian made; featuring aluminium frame with 10 year 

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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 

www.kilns.com.au 


Classifieds 

FOR SALE 

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 

nadine.wilsonl@bigpond.com 

GROUPS 

CERAMIC STUDY GROUP Inc. CELEBRATES ITS 

SOTH YEAR 

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 

WWVtI.ceramicstudygroup.org 

MOULD/MODEL MAKER 

SPECIALIST IN PROTOTYPE AND MOULD-MAKING for 

ceramic mass production and artworks. Ceramic design 

service also available. Contact Somchai, T: 02 9703 2557 

M: 0401 359 126; E: eatandclay@gmail.com 

PHOTOGRAPHY 

GREG PIPER IMAGING SOLUTIONS 

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 

www.gregpiper.com.au 

PLINTHS 

PLINTHS MADE TO ORDER 

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 

WORKSHOPS I SEMINARS 

HOT TO POT WORKSHOPS 

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 

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 

AUSTRALIAN GALLERY DIRECTORY 

INNER CITY CLAYWORKERS GALLERY CO-OP LTD 

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 

KERR IE LOWE GALLERY 

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 

NATIONAL EDUCATION DIRECTORY 

CERAMIC DESIGN STUDIO - TAFE NSW 

SYDNEY INSTITUTE, GYMEA 

9 & 18 week short courses plus Certificate, Diploma and 

Advanced Diploma qualifications in ceramics - full and parttime 

attendance. 

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" . 

HOLMESGLEN 

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 

Association 

Secure and Easy 

online 

shopping 

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 

www.walterauer.com.au 

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 

5213 

Publication: 

20 November 2013 

Ecology and Ceramics 

Oeadline for copy: 

9 September 2013 

53/ 1 

Publication: 

1 April 2014 

Connections: 

Australia & Asia 

Oeadline for copy: 

3 February 2014 

53 /2 

Publication: 

17 July 2014 

Emerging artists 

writers and 

photographers 

Deadline for copy: 

5 May 2014 


(ERAffiIH AUSTRALIA 

QUALITY WHEELS, MILLS & KILNS 

SHIMPO Precision Pottery Equipment 

To view our full range of equipment please visit our website 

www.shimpo.com.au 

RoUer 

[m1J 

THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2013 "7

quality pottery supplies and services 

Northcote Pottery Supplies Pty Ltd 

142 - 144 Weston Street 

Brunswick East 3057 

(PH) 0393873911 

New web site: 

www.northcotepotterysupplies.com.au

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

CERAMIC STUDY 

GROUP Inc. 

presents Ted Secombe at the 

Powerhouse Museum 

on Sunday 25 August 2013 

M ist: 

TedSecombe 

Continuing our 50th year 

anniversary, Ted Secombe 

one of Australia's finest 

ceramic artists is giving us 

a one-day presentation and 

demonstration. 

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 

souls. 

For bookings email: 

csgsecretary@hotmail.com 

www.ceramicstudygroup.org 

creat n 9 w t h pape r 

Tissue Transfer Papers 

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COLOURS Rockwood Pigments, Cesco, 

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Chrysanthos CLAYS 

Bendigo, Bennetts, 

Blackwattle, Clayworks, Feeneys, Keanes, 

Northcote, Walkers EQUIPMENT 

wheels, slab rollers, 

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THE JOURNAL OF AUSTRALIAN CERAM ICS JULY 2013 121

woodrow 

kilns 

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Join The Australian Ceramics Association 

Facebook page here: 

http://tinyurl.com/tacafacebook 

-C Uke 

Ceramics Design Studio 

www.sit.nsw.edu.au/ceramics/gymea 

We offer a wide range of specialist ceramic studio courses 

Short Courses: 

Qualifications: 

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 

,J3J.DNEY INSTITUTE 

Photo: Si]versalt Photography 

Ceramics by Robert Jeffers 

Marian.HoweIl2@det.nsw.edu.au 

The Kingsway & Hotham Road, Gymea NSW 2227, Tel : (02) 9710 5001 


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I 

GUEST ARTIST 

WORKSHOPS 

SLOW CLAY CENTRE 

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: 

Porcelain 

A rare 

demonstratIon & 

hands-on workshop 

of Prue's Inventive 

and unique 

techniques 

Sat t3 & Sun t4 

July lOam - 4pm 

$425 ($395) 

SLOW 

CLAY 

CENTRE 

Penny Byrne: 

Ceramics 

Restoration & 

Conservation 

Up-skill with all the 

tncks Penny uses to 

create her own famous 

artworks! 

Tues 7-9pm; 6 weeks 

8 Oct - 19 Nov 

$335 ($300) 

Vipoo Srivilasa: 

Spooning! 

Bring your own 

stories and history to 

create a set of 

personalised spoons 

Sun 11 August 

lOam - 4pm $215 

($195) A Craft 

Cubed Satellite 

Event 

Irianna 

Kanellopoulou: 

The Positive 

Negative 

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 

124 THE JOURNAL OF AUSTRALIAN CERAMICS JU LY 2013

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. 

http://tinyurl.com/n42csBj 


WALKER , 

Buff Raku Trachyte 

p=-ry 

WWW.walkerceramics.com.au 

Feeneys 

Clay 

Proudly ~ 

manufacturing ~ 

in Australia 

~ 

• ...• 

• 

Cesco 

Glazes & Colours 

Service 

and Supplies

ISSN 1449-275X 

02 

9 t449 275007

The Journal of Australian Ceramics Vol 52 No 2 July 2013

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