The Journal of Australian Ceramics Vol 52 No 2 July 2013

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