The Journal of Australian Ceramics Vol 52 No 2 July 2013

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